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^ This  edition  of  “ A Catalogue  of  Chinese  Porcelains 
consisting  of  one  hundred  numbered  copies,  was 
printed  for  Mr.  Charles  P.  Taft,  of  Cincin- 
nati, at  the  DeVinne  Press,  NewYork 
nineteen  hundred  and  four 


No. 


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A CATALOGUE  OF 

CHINESE  PORCELAINS 


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A CATALOGUE  OF 


CHINESE  PORCELAINS 


COLLECTED  BY 

MR.  AND  MRS.  CHARLES  P.  TAFT 

CINCINNATI,  OHIO 


WITH  NOTES  AND  ILLUSTRATIONS 


COMPILED  AND  DESCRIBED  BY 
JOHN  GETZ 


NEW  YORK 
PRIVATELY  PRINTED 
MCMIV 


Copyright,  1904,  by 
CHARLES  P.  Taft 


/ 


► 


PREFACE 


HE  private  Collection  of  Chinese  Porcelains  formed  by 
Mr.  and  Mrs.  Charles  P.  Taft  of  Cincinnati,  described 
and  illustrated  in  the  following  pages,  contains  uni- 
formly important  specimens  as  well  as  interesting  and 
noteworthy  groups  that  exemplify  the  high  technical 
skill  attained  during  the  early  periods  of  the  ceramic  art 
in  China,  and  which  are  held  in  great  esteem  by  all 
connoisseurs  to-day. 

Covering  so  many  centuries  in  the  history  of  this  art,  these  objects  in 
porcelain,  by  their  surpassing  qualities  and  preeminence,  fairly  indicate 
that  the  transcendent  success  of  their  kind,  whether  owned  in  private  or 
museum  aggregations,  contributed  largely  to  the  glory  of  those  past  epochs 
to  which  they  are  ascribed  by  native  and  other  authorities. 

The  creations  of  Chinese  ceramists  justly  enjoy  universal  celebrity  and 
favor,  their  singular  beauty  and  exquisite  richness  making  them  harmoni- 
ous adjuncts  to  tasteful  and  esthetic  surroundings  the  world  over.  Deco- 
rative applicability,  together  with  a subtle  charm  of  refinement,  is  always 
gratifying ; and  we  know  that  such  objects  won  the  enthusiastic  admira- 
tion of  kings  and  emperors,  in  Europe  as  in  the  far  East. 

[ix] 


PREFACE 


A former  French  minister  to  the  Imperial  court  at  Pekin,  and  a keen 
connoisseur  as  well  as  collector,  once  said  to  the  writer,  “There  are  porce- 
lains and  porcelains,  as  there  are  diamonds  and  diamonds”;  the  inference 
is  so  apt  and  to  the  point,  that  its  repetition  here  may  be  pardonable. 

The  subtlety  of  rare  old  porcelain,  which  after  the  lapse  of  centuries 
shows  no  loss  of  color  or  sign  of  decay,  its  mature  appearance  combined 
with  innate  freshness,  its  brilliancy  and  translucency  of  glazes,  and  its  sym- 
metry and  dignity  of  form,  whether  invested  with  a solid  color  or  a clev- 
erly balanced  distribution  of  design,  contribute  each  in  its  own  way  to 
the  inimitable  character  of  those  objects  in  fired  kaolinic  clay. 

The  taste  for  Oriental  porcelains  reached  Europe  early  in  the  seven- 
teenth century,  but  until  recent  years  the  real  gems  in  porcelain  remained 
utterly  unknown  to  the  Western  world.  Only  at  rare  intervals  a few  pieces 
which  showed  the  native  gout  began  to  appear,  and  they,  indeed,  proved 
a revelation  in  America  as  well  as  in  Europe ; such  isolated  apparitions 
in  porcelain,  coming  from  time  to  time,  staggered  amateurs  by  their  beauty, 
and,  it  may  be  also  said,  by  their  unheard-of  values. 

It  has  taken  the  Western  world  over  a century  to  pass  beyond  the  ante- 
room of  this  captivating  art  in  China,  and  to  reach  the  cabinets  of  the 
prized,  the  ne  plus  ultra  treasures  owned  by  mandarins  or  by  Manchu 
princes  of  the  Celestial  Empire.  These  precious  objects  have  excited  the 
interest  of  collectors  the  world  over,  but  it  may  be  safely  stated  that  not 
before  the  great  Tai-ping  rebellion  were  such  examples  in  porcelain  seen 
outside  of  China. 

These  fragile  products,  these  fascinating  and  unobtrusive  objects  of  art, 
have  been  destined  to  wander  far,  and  from  country  to  country,  from 
mansion  to  mansion,  always  inspiring  new  delight,  affording  a field  for  the 
display  of  cultivated  taste,  and  furnishing  a stimulating  pastime,  as  well  as 
contributing  by  their  presence  to  a quiet  dignity  of  surroundings.  Such 
are  the  real  attributes  of  rare  Chinese  porcelains. 

The  acknowledgments  of  the  compiler  are  due  to  Mr.  B.  Duveen  for 
his  collaboration  and  interest  in  this  work. 

[xl 


HISTORICAL 


BRIEF  outline  of  the  early  history  of  Chinese  Porce- 
lain is  deemed  not  out  of  place  here,  as  an  introduc- 
tory to  the  following  pages.  Documentary  evidences 
concerning  porcelains  of  remote  epochs  are  rather 
abstruse;  either  the  specimens  described  cannot  be 
traced,  or  they  are  now  entirely  lost  through  progres- 
sive diminution.  The  literature  remains  abundant, 
but  for  practical  purposes  is  useless  without  accompanying  illustrations. 

M.  Stanislas  Julien,Sn  his  translations  of  early  Chinese  records,  refers  to 
a certain  blue  glazed  ware  called  “Tong  Ngeou-thao’’or  “Tung-ou-t’ao,“ 
said  to  have  been  produced  during  the  Chin  dynasty  (A.D.  265-419), 
and  Dr.  Bushell,  in  his  splendid  work,  alludes  also  to  this  dynasty  as 
producing  a blue  ware  called  “P’iao-tzii,”  which  is  described  as  “re- 
sembling in  color  the  pale-blue  shade  (P’iao)  of  certain  silks.” 

Sinologues  proved  by  their  researches  that  the  kaolinic  paste  which 
properly  constitutes  porcelain,  as  we  know  it  to-day,  had  not  yet  appeared 
at  this  early  period;  that,  in  fact,  all  the  products  referred  to  in  the 

^ Histoire  de  la  Fabrication  de  la  Porcelaine  Chinoise,  Paris,  1856. 

[xi] 


HISTORICAL 


Chinese  annals  of  ceramic  art  as  “Thao”  or  “T’ao”  could  have  been 
only  a sort  of  pottery  or  stoneware  solidly  glazed  over  with  the  enamel 
colors. 

The  word  “Tzu,”  used  in  ancient  documents,  came  into  use  during 
the  Han  dynasty  (202  B.C.  to  220  A.D.),  and  designates  a kind  of  porce- 
lain made  from  a stone  called  “Tzu-chi,”  which  was  found  in  the  dis- 
trict of  Tzii-tcheou  (d’Entrecolles).  This  so-called  porcelain  has  a fair 
ring,  and  doubtless  is  the  product  referred  to  in  the  annals  as  “Tzii,” 
in  contradistinction  to  the  pottery  “T’ao.”  In  this  connection  it  should 
be  noted  that  a vitrified  stoneware  of  a grayish  color  was  made  in  China 
long  before  what  may  be  called  true  porcelain,  and  has  been  even  repro- 
duced in  comparatively  late  periods.  The  covering  of  heavy  glazing 
makes  it  difficult  to  distinguish  this  stoneware  from  porcelain  unless  the 
difference  be  noticeable  at  the  foot. 

With  the  product  made  under  the  T’angs  (A.D.  618-906)  the  ini- 
tiative and  somewhat  nebulous  era  in  the  history  of  ceramic  art  was 
brought  to  a close  and  doubt  ceases ; for  Sinologists,  in  a consensus  of 
opinion,  are  content  to  accept  the  literary  evidence  of  this  dynasty  with 
regard  to  the  invention  of  real  porcelain.  We  learn  that  “vases  were 
made  of  a white  color,  solid  and  thin,  of  sonorous  sound,  and  of  grace- 
ful form” ; that  this  new  product  was  in  great  vogue  and  called  “ Yao,” 
to  distinguish  it  from  the  former  product  “Thao”  (or  “T’ao”),  the 
word  “Yao”  literally  signifying  an  object  baked  in  a kiln,  whether 
porcelain  or  pottery. 

Before  entering  upon  this  interesting  dynasty  of  the  T’angs  mention 
should  be  made  of  the  rather  short  Sui  dynasty  (A.D.  581-617)  just 
preceding  it,  as  names  of  places  and  potters  are  disclosed  in  the  contem- 
porary annals  that  should  not  be  omitted  in  any  history,  however  brief. 
In  this  period  the  Emperor  decreed  that  the  inhabitants  of  Ching-nan-chen, 
afterward  called  Ching-te-chen  (King-te-chen),  should  make  vases  as  a 
tribute  for  Imperial  use. 

Chinese  authors  specify  a kind  of  green  glazed  ware  called  “Lou-tzii,” 
that  was  made  under  Ho  Chou,  or  Ho  Kuei-lin,  President  of  the  Board 

Ixii] 


HISTORICAL 


of  Works,  as  a substitute  for  glass,  the  secret  of  making  which  (according 
to  Monkhouse)  had  been  lost.  The  other  product  referred  to  was  called 
“ T’ao  Y u ” (pottery  jade),  as  it  resembled  a certain  kind  of  jade-stone,  semi- 
transparent and  of  vitreous  appearance.  It  may  be  concluded  that  both 
these  wares  belong  to  the  celadon  variety. 

During  the  first  years  of  the  T’ang  dynasty  (period  of  Wou-te,  612), 
native  authors  likewise  state  that  a potter  named  Ho  Chung-ch’u  (Ho 
Tchong-thsou)  made  porcelain  with  a white  body  and  brilliant  as  polished 
jade,  famed  as  “ Ho-yao,”  or  porcelain  of  Ho.  It  is  further  recorded  that 
Ho  Chung-ch’u,  together  with  other  inhabitants  of  Hsin  P’ing,^  was 
ordered  to  make  vases  for  the  palace  (Professor  Hirth  is  of  the  opinion 
that  this  potter  made  real  porcelain). 

It  is  assumed,  from  the  impressions  conveyed  through  the  foregoing 
particulars,  that  such  productions  had  intrinsically  the  same  translucent 
kaolinic  substance,  more  or  less  vitrified  by  complete  baking,  which,  with 
the  white  color,  is  taken  properly  to  constitute  the  quality  of  porcelain. 
M.  Grandidier  also  concluded,  in  his  work,  that  all  earlier  product  referred 
to  as  “Thao”  was  only  a sort  of  pottery  made  of  earth  and  stone,  enameled 
but  less  thoroughly  fired. 

It  may  be  interesting  to  note  that  during  the  T’ang  dynasty  the  follow- 
ing different  descriptions  of  porcelain  (besides  the  more  famous  products 
already  alluded  to),  named  after  towns  and  places  where  made,  are  enu- 
merated : ue,,  “ Hung-chou-yao,”  “ Yo-yao,”  “ Ting-yao,”  “ Shou-yao,” 
“ Yueh-yao,”  and  “ Shu-yao.”  It  is  assumed  that  some  may  not  have 
been  porcelain ; but  the  last-named,  which  was  made  at  Ta-i,  in  the 
Szechuan  province,  probably  was  porcelain,  if  the  description  that  it 
was  “ snow-white,”  had  a “ clear  ring,”  and  was  also  “ thin  and  strong,” 
is  correct. 

At  the  close  of  this  dynasty  a noted  porcelain  was  produced  under  the 
direction  of  the  Prince  Tsien-lieou  (907),  called  “ Pi-se-yao,”  or  “Porce- 


^ TTie  name  Hsin  P’ing  was  changed,  before  the 
end  of  the  T’ang  dynasty,  to  its  present  name, 
Feou-liang.  It  is  the  chief  source  for  kaolin  and 


other  materials  used  in  the  manufacture  of  porce- 
lain in  China. 


[ xiii  ] 


HISTORICAL 


lain  of  the  hidden  color.”  M.  Julien  described  it  as  blue,  although  it  is 
more  likely  to  be  the  wonderful  bluish-green  celadon  made  at  Jiichou, 
described  by  other  writers  as  superior  to  the  Imperial  “ Kuan-yao  ” and 
” Ko-yao.”  The  glaze  is  described  in  an  old  Chinese  manuscript  of  the 
sixteenth  century,  by  a native  collector,  who  saw  a specimen  of  this  porce- 
lain during  his  life,  as  of  a “ pale-green  color,  clear  and  lustrous,  like 
a precious  emerald  in  tint,  the  whole  surface  covered  with  marks  like 
those  on  cracked  ice.”  From  the  often  defective  translations  of  Chinese 
descriptions  of  porcelains  made  under  this  dynasty  and  the  following 
short  dynasties  (from  907  to  953),  we  can  only  gather  that  most  of 
these  objects  were  modeled  after  ancient  bronze  vessels,  and  are  now 
doubtless  extinct,  so  that  it  may  be  truly  said  that  literary  evidence  only 
of  such  porcelains  exists  to-day. 

Under  the  posterior  Chou  dynasty  (A.D.  954-959)  the  Emperor  Shih- 
tsung  (Ch’ai-tsong)  gave  his  family  name  to  a certain  hard-paste  porce- 
lain made  during  his  reign,  which  was  also  termed  ‘‘  Ju-yao  ” (Imperial 
porcelain),  and  later,  under  Sungs,  was  called  “Ch’ai-yao.”  It  was  this 
sovereign  who  issued  an  order,  famous  in  ceramic  literature,  ‘‘that  porce- 
lain for  the  palace  should  thenceforth  be  made  the  color  of  the  sky  as 
seen  between  clouds  after  a rain.”  Chinese  authors  state  that  this  color 
was  ‘‘  blue  as  the  sky,”  ‘‘  brilliant  as  a mirror,”  ‘‘  thin  as  paper,”  and 
‘‘resonant  as  a Khang”  (a  musical  stone  of  polished  jade),  and  that  it 
also  was  ‘‘  distinguished  for  its  fineness  and  crackle.”  It  is  further 
recorded  that  those  objects  in  porcelain  of  Ch’ai  (‘‘  Ch’ai-yao  ”)  ^ were 
so  prized  in  subsequent  years  that  fragments  thereof  were  set  in  gold  and 
worn  as  personal  ornament. 

During  the  long  and  remarkable  dynasty  of  the  Sungs  (A.D.  960-1259) 
the  manufacture  of  porcelain  received  considerable  attention  from  the  court, 
and  attained  an  artistic  development  that  was  appreciated  only  in  later 


^ The  colored  glazes  referred  to  in  this  epoch 
and  the  beginning  of  the  Sung,  other  than  green 
or  so-called  celadons,  were  purple,  black,  ivory- 
white,  and  the  pale  blue  called  by  the  Chinese 
“ moonlight  ” and  by  the  Western  collectors 


“ clair  de  lune  ” ; and  it  is  assumed  that  it  was 
this  latter-colored  glaze  which  was  then  desig- 
nated as  “ ju  ” porcelain,  or  “ Ch’ai-yao,”  after 
this  Emperor’s  fcimily  name. 


[xiv] 


HISTORICAL 


years.  Imperial  factories  were  established  at  several  places,  the  most 
notable  being  the  foundation,  by  Imperial  decree,  of  a factory  at  Chang- 
nan-tchin,  which  under  Emperor  King-te,  or  Ching-te  (1004-1007),  was 
changed  to  King-te-chen,  or  Ching-te-chen,  as  it  is  written  in  some  Eng- 
lish works. 

This  Emperor  ordered  all  the  objects  made  for  the  palace  to  be  in- 
scribed underneath  with  the  four  words  “ King-te-nien-tchi,”  so  that  we 
find  here  the  record  of  a date-mark  on  vases  for  the  first  time.  These 
porcelains  were  at  once  distinguished  for  the  brightness  of  the  glaze,  the 
perfection  of  material,  and  the  beauty  of  their  forms  ; and  soon  thereafter 
they  were  imitated  in  many  places  and  circulated  throughout  the  empire 
as  “porcelains  of  King-te-tchin”  (Julien). 

Imperial  factories  were  also  established  beween  1 1 07  and  1117  at 
Pien-liang,  the  present  department  of  K’ai-feng  (Honan  province),  where 
they  made  the  so-called  vases  of  the  magistrates,  termed  “ Kuan-yao,”  that 
were  of  special  quality  and  became  famous  in  after  years  as  “ Imperial 
porcelain.”  It  is  recorded  that  they  were  thin  and  sometimes  glazed  in  a 
moonlight  color,  bluish  or  dark  green,  and  pale  green ; that  the  upper  rim 
was  brown,  and  the  foot  of  “iron-red”  color.  These  vases  also,  it  is 
said,  have  been  imitated  in  various  places  and  at  later  periods ; but  such 
pieces  are  described  as  inferior  to  the  originals. 

The  products  at  these  different  factories,  including  those  of  Lung- 
ch’iian,  appear  to  have  been  especially  celadon,  although  moon-white  and 
bluish  or  dark  green  are  also  mentioned ; M.  Julien  referred  to  a “ blue 
porcelain,”  made  at  the  beginning  of  this  dynasty,  although  Sinological 
erudition  has  since  proved  that  this  porcelain  was  really  not  blue,  but  “pale 
green,”  or  like  the  “ green  of  onions.”  It  is  possible  to  identify  the  prod- 
ucts of  Lung-ch’iian,  owing  to  marked  peculiarities ; they  are  especially 
characterized  by  the  ferruginous  rim  at  the  foot,  as  alluded  to  above. 

Other  celadons  of  early  periods  exist,  showing  the  white  paste,  where 
unglazed,  to  be  colored  with  a rusty-red  wash,  made  in  imitation  of  this 
famous  product  or  to  simulate  the  true  celadon,  called  “ Ko-yao,”  and 
“ Chang-yao,”  made  by  the  elder  of  two  brothers,  famous  potters,  named 

Ixv] 


HISTORICAL 


Chang,  natives  of  Ch’uchow,  who  lived  between  the  eleventh  and  twelfth 
centuries,  and  produced  the  same  peculiar  results  with  their  clay,  in  the 
Lung-ch’uan  district,  where  they  worked  together. 

These  brothers  were  both  renowned  for  their  porcelains ; but  the  elder, 
Chang  Sheng-i,  was  considered  the  more  clever.  He  is  said  to  have  used 
a brown-colored  clay  of  fine  quality  and  covered  it  with  glaze  that  was 
crackled  and  had  the  appearance  of  “fish  roe”;  he  also  produced  vases  of 
the  color  of  rice,  and  it  is  stated  that  his  objects  had  the  iron-colored 
rim  at  the  opening  and  at  the  foot.  History  records  the  fact  that  during 
the  last  years  of  this  d)masty  potters  tried  in  vain  to  imitate  his  work,  and 
that  the  clay  they  used  was  poor  and  the  color  of  the  glaze  less  agreeable. 

The  “younger  brother,”  Chang  Sh^ng-erh,  made  pieces  of  the  same 
colors  without  being  crackled;  the  French  translations  specify  among  his 
products  pieces  of  an  olive-green  color,  and  also  that  others  resembled 
very  ancient  forms,  probably  copied  from  bronzes  of  the  Han  dynasty. 

A blue  of  light  color  is  also  referred  to  as  produced  by  “the  younger 
brother”  ( as  he  is  termed  in  the  Chinese  records),  that,  as  described,  could 
possibly  be  a sort  of  “clair-de-lune”  glaze  (distinguished  by  a heavy  bluish- 
turquoise  tone,  sometimes  mottled  or  marked  with  a purplish  tint)  stated 
to  have  had  an  effect  as  if  covered  with  dew,  but  this  later  characteristic 
is  also  attributable  to  old  celadon,  or  “Martabani.” 

The  embellishment  of  Sung  celadons,  as  well  as  all  the  porcelain  of  this 
early  period,  was  confined  to  engraving  and  modeling  in  low  relief.  Most 
of  the  specimens  were  crackled,  and  the  different  shades  of  glazes  are 
described  as  resembling  the  colors  of  pale  emeralds,  onion-sprouts,  greenish 
egg-shells,  moss  or  grass  green,  while  a few  are  designated  as  bluish-green, 
and  others  as  having  a gray-toned  green  (the  real  celadon  color).  Next 
to  these,  the  “cream”  or  “buff-colored”  glazes  were  most  popular. 

Another  type  of  enamel  porcelain  of  this  epoch  is  referred  to  in  litera- 
ture, and  identified  with  existing  specimens.^  It  was  known  as  “Chiin- 
yao,”  or  “Chiin-chou-yao,”  the  factories  being  situated  at  Chiin-chou(in 
the  district  now  called  Yu-chou),  prefecture  of  K’ai  Feng-fu,  province  of 

'According  to  the  able  Sinologue,  Professor  F.  Hirth,  Ph.D. 

[xvi] 


HISTORICAL 


Honan.  A variety  of  colored  glazes  was  produced  at  these  kilns ; native 
documents  describe  the  aubergine  purple  of  manganese,  or  the  violet  of  the 
skin  of  wild  apples  (“  Kia-pi-pe  ”) ; another  shade  is  likened  to  the  color  of 
prune-skins  (“ Mei-tseu-tsing ”) ; a vermilion-red  is  also  referred  to;  and 
the  “moonlight”  glaze  we  know  as  “clair  de  lune.”  Objects  were  also 
produced  showing  a variegated  glazing,  called  “ Yao-pien  ” by  the  Chinese, 
“ transmutation  ” by  the  English,  and  “ flambe  ” by  the  French.  From  this 
we  may  gather  that  the  potters  of  Chiin  have  attempted  innovations,  at 
least  in  colors,  if  not  in  forms. 

It  is  also  evident  that  the  paste  varied  much  in  quality,  as  a sandy-yellow- 
ish paste  is  referred  to  in  the  annals,  made  at  other  factories,  which  could 
only  have  been  coarse  and  inferior  to  the  paste  used  on  the  “transmuta- 
tion ” and  celadon  objects  at  the  Chiin  kilns. 

In  the  Chinese  Chronicle  translated  by  M.  Julien  it  is  stated  that  in  the 
district  of  Ki-tcheou  (Chi-chow : later  called  Lou  Lin-h’ieng)  two  clever 
artist  potters  worked  together:  Chou-ong  (“venerable  Chou”)  produced 
many  curiosities  in  porcelain,  such  as  birds  and  animals ; but  the  daughter, 
Chou-ciao(“belleChou”),  surpassed  her  father  in  fineness  of  workmanship 
and  ornamentation.  Their  productions,  of  whatever  color,  sold  for  almost 
as  high  as  the  porcelains  of  Chang,  the  elder  of  the  two  famed  brothers 
before  referred  to.  Five  kilns  in  the  district  are  mentioned,  and  their  com- 
bined product  came  to  the  market  at  Yong-ho,  and  was  called“Ki-tcheou- 
yao”;  but  the  porcelain  of  the  Chou  family  was  most  highly  esteemed. 

When  the  dynasty  of  Sung  passed  southward  to  Hang-chou  (A.D.  1127), 
a superintendent  or  officer  named  Shao  Ch’ing  Chang  established  a small 
factory  or  kiln  in  the  new  capital,  and  made  porcelain  of  a good  quality, 
called  “Nei-yao”  (porcelain  of  the  palace),  and  specially  noted  for  its  bril- 
liant color  and  transparent  enamel.  It  was  also  called  “ Kuan-yao  ” (porce- 
lain of  the  government),  to  distinguish  it  from  that  made  under  the  Sungs 
of  the  North,  or  at  the  eastern  capital. 

Under  the  Mongolian  dynasty  of  Yiian  (1260-1367),  a tax  was  put 
upon  all  porcelain  not  made  for  the  palace,  for  which  reason  the  industry 
materially  suffered  and  also  retrograded. 

[ xvii  ] 


HISTORICAL 


In  the  fourth  volume  of  (Chinese)  “ Porcelains  made  at  King-te-tchin  ” 
(translated  by  M.  Julien)  is  mentioned  a potter,  named  P’ong-kiun-pao 
(or  Peng  Chiin-pao),  who  established  himself  at  Ho-cheou,  in  the  prov- 
ince of  King-nan-tchin ; among  the  pieces  enumerated  as  made  by  him  are 
white  vases  called  “Che-yao,”  which  indicates  a form  with  compressed 
center,  like  a beaker.  This  artist  excelled,  however,  in  copying  ancient 
vases,  such  as  “ Ho-yao  ” and  “ Ting-chou  ” (known  as  “New  Ting-yao”), 
and  it  is  recorded  that  his  best  copies  were  difficult  to  distinguish  from 
the  older  products. 

The  same  author  also  states  that  a porcelain  called  “Tch’u-fu-yao”  was 
made  for  the  Emperor ; and  that  the  material  was  white  and  plastic,  the 
ornamentation-flowers,  etc.,  being  modeled  in  the  paste  and  then  enam- 
eled. 

It  is  elsewhere  recorded  that  a porcelain  called  “Shu-fu-yao”  was 
white  and  thin,  with  engraved  decoration,  said  to  have  been  copied  from 
the  white  “Ting-chou  ” examples  of  the  northern  Sung  dynasty.^  Nearly 
all  these  objects  in  porcelain  were  made  after  ancient  models  of  the  Han 
dynasty;  a large  number  were  sacrificial  vessels,  incense-burners,  copied 
from  objects  made  in  the  remote  bronze  era. 

Large  vases  and  bowls  were  also  made  in  brilliant  monochrome  glazes. 
A reference  is  made  to  the  talent  of  decoration  which  developed  in  his 
period,  but  which  appears  to  have  been  confined  to  coarsely  painted 
flowers  or  filling  out  engraved  lines  with  colored  enamels  for  the  empha- 
sizing of  certain  details. 

Other  vases,  it  is  stated  by  native  authors,  were  made  in  the  countries 
east  and  west  of  Che-king,  or  Chien-chang,  that  had  grace  and  elegance 
like  those  of  ancient  make ; but  the  kilns  fell  into  disuse,  and  not  a ves- 
tige remains  of  the  factories.  It  is  presumed  that  the  porcelain  coming 
from  some  of  these  provinces  was  gritty,  and  therefore  counted  as  unfit 

^ Hsiang  Tzii-ching,  after  describing  a speci-  (the  Ming),  of  the  reign  of  Yung-lo  and  Hsiian-te, 
men  of  Shu-fu  porcelain  decorated  with  dragons  decorated  with  patterns  engraved  under  a white 
in  the  midst  of  clouds,  and  with  lion’s-head  handles,  glaze,  was  made  after  this  Shu-fu  porcelain,  which 
all  faintly  engraved  in  the  paste  under  a white  was  itself  copied  from  the  Ting-chou  porcelain  of 
glaze,  states  that  “ the  porcelain  of  his  own  dynasty  the  northern  Sung  dynasty.” 

[ xviii  ] 


HISTORICAL 


for  the  palace.  The  fact  is,  that  while  nearly  all  details  on  porcelain 
given  by  native  authors  are  more  or  less  faulty  in  description,  or  scanty  in 
the  extreme,  it  is  especially  so  with  the  products  made  outside  of  Impe- 
rial factories ; they  are  particularly  wrapped  in  mystery,  and  will  doubt- 
less remain  so. 

The  foregoing  outlines  concerning  the  early  history  of  ceramics  are  de- 
rived from  tmstworthy  translations  of  Chinese  literature,  and  may  be  suf- 
ficient here  to  follow  the  progress  of  this  art  from  the  remote  periods  of 
which  we  have  native  testimony  to  this,  the  present  dynasty.  The  Chinese 
are  conceded  to  have  been  the  first  to  make  porcelain,  but  their  claims  to 
its  greater  antiquity  have  been  refuted  by  Western  Sinologues.  The  real 
advent  of  porcelain,  according  to  the  views  of  these  authorities,  dates  from 
between  the  seventh  and  ninth  centuries,  the  exact  period,  as  it  may  ap- 
pear, being  in  dispute. 

The  descriptions  of  the  varieties  of  porcelain  hitherto  enumerated  pos- 
sess, besides  their  historical  interest,  some  value  in  that  we  may  trace  back 
certain  well-defined  types  and  colors. 

Very  few  specimens  manufactured  prior  to  the  advent  of  the  Sung  dy- 
nasty have  survived  to  the  present  day  ; and  even  of  the  Sung  and  Yiian 
productions  the  originals  and  finer  kinds  have  almost  entirely  disappeared. 
Such  specimens  as  have  withstood  the  many  dangers  of  the  subsequent 
eight  centuries  are  chiefly  celadons  of  considerable  solidity  (Lung-ch’iian  or 
Chiin-chou  porcelain),  small  pieces  of  crackle  ware,  and  probably  a few 
porcelains  of  Ting  or  Ting-chou.  As  far  back  as  three  centuries,  even 
the  best  varieties  of  older  products  were  already  scarce,  and  this  is  made 
evident  from  the  literature  of  that  period,  notably  from  the  catalogue  and 
descriptions  preserved  by  Hsiang  Tsii-ching,  who  then  stated  that  certain 
examples  seen  by  him  were  almost  unique.  Therefore  it  is  assumed  that 
many  pieces,  presumably  early  Sung,  Tang,  or  Sui,  Chin,  Wei,  and  Han, 
are  only  reproductions  made  by  clever  copyists  of  the  later  Sungs,  or  under 
the  Yiian  and  Ming  dynasties,  if  not  of  even  later  periods. 

Under  the  Ming  dynasty  (l  368-1643),  owing  to  its  length  and  the 
peaceful  conditions  of  the  country,  the  manufacture  of  porcelain  received 

[xix] 


HISTORICAL 


the  greatest  development ; kilns  v^^ere  increased,  a number  of  artists  and 
clever  workmen  were  named  for  personal  achievements  in  their  art,  and  quan- 
tities of  fine  specimens  in  polychrome  colors  were  produced.  The  advent 
of  “blue  and  white  ’’porcelain  may  be  particularly  attributed  to  this  dy- 
nasty, as  its  manufacture  predominated  among  the  products  of  at  least  three 
noted  periods,  the  examples  being  so  remarkable  that  antiquarians  of 
China,  as  well  as  Western  virtuosi  or  collectors,  keep  up  a continuous 
search  for  them. 

It  may  be  stated  that  “ blue  and  white  ” porcelain  started  with  the  first 
period  of  the  Ming  dynasty,  if  not  at  the  close  of  the  former  dynasty  of 
Mongols,  as  a reference  is  made  by  Chinese  writers  to  a porcelain  deco- 
rated in  blue,  said  to  have  been  produced  at  Lin-ch’uan  in  the  department 
of  Fu-chou,  and  at  Nan-feng  in  the  department  of  Chien-chang,  both  in 
province  of  Kiangsi,  at  the  end  of  the  Yiian  dynasty. 

These  two  products  appear  to  have  been  much  preferred  to  the  kind 
made  at  the  Imperial  factories  (King-te-chen),  and  soon  became  famous. 

During  the  reign  of  Hung-wu  (1368-1398),  the  first  Ming  emperor,  a 
special  factory  was  established  at  the  foot  of  Mount  Tch’ou-chan  in  King- 
te-chen  (Ching-t6-chen),  where  the  products  intended  for  the  palace  were 
specially  made,  and  where  a fine  quality  of  porcelain  was  also  produced 
for  the  magistrates.  The  Emperor  ordered  all  vases  to  be  inscribed  with 
the  date-mark  of  four  or  six  characters,  the  former  giving  the  “Nien-hao” 
(Imperial  name),  and  the  latter  including  the  name  of  his  dynasty.  In 
this  period  several  colors  were  in  vogue — blue,  black,  and  a pure  white, 
this  last  being  most  esteemed. 

The  period  of  Yung-lo  (1403-1426),  of  the  Ming  dynasty,  is  among  the 
most  noted.  Objects  were  produced,  as  in  other  periods,  of  varying 
quality,  but  the  finest  porcelains  are  of  special  interest  and  value.  The 
“blue  and  white”  porcelain  of  this  era,  ranking  very  high,  is  perhaps  ex- 
celled only  by  those  fine  soft-paste  objects  produced  under  Hsiian-te,  the 
succeeding  period,  and  that  of  Ch’eng-hua,  a later  but  most  flourishing  era. 

It  is  stated  in  the  annals  of  Feou-liang  that  the  blue  employed  was 
brought  from  some  Mohammedan  country  (Persia  or  Arabia)  as  a tribute, 

[xx] 


HISTORICAL 


and  famed  as  “Mohammedan  blue,”  or  “Su-ma-ni,”  to  distinguish  it  from 
the  native  blue,  found  to  be  very  much  inferior. 

This  epoch  was  also  noted  for  a brilliant-red  decoration,  employed  on 
vases  and  sometimes  on  the  exterior  of  bowls  or  cups  having  a blue  and 
white  interior  design. 

Mention  is  made  by  native  and  other  authors  of  fine  egg-shell  porcelain 
produced  during  this  period,  called  “T’ho-tai”  or  “T’o-tai,  “bodiless,  ^ 
and  being  “as  thin  as  paper.”  A series  of  fine  cups  and  bowls  are  de- 
scribed, as  used  either  for  wine  or  tea,  with  dragons  and  phoenixes  among 
clouds,  and  other  delicate  ornamentation  of  flowers,  faintly  engraved  and 
glazed  in  white  enamel,  this  decoration  appearing  only  when  held  to  the 
light,  or  showing  more  plainly  when  filled  with  liquid. 

The  period  of  Hsuan-te  (1426-1435)  is  most  highly  praised  by  the  na- 
tive authors,  sharing  with  the  former  era  of  this  dynasty  considerable  dis- 
tinction, on  account  of  the  fine  “Mohammedan  blue”  used  for  decora- 
tion. Some  authorities  state  that  this  beautiful  dark-blue  (“Su-ma-ni”) 
material  (for  embellishing  porcelain)  was  first  used  under  this  Emperor, 
although  the  annals  of  the  Imperial  factories  refer  to  this  blue  under  Yung- 
lo,  as  above  shown.  A brilliant  red  like  fresh  blood,  also  valued,  was  said 
to  have  been  obtained  by  crushing  a precious  red-colored  stone  brought 
from  the  West  (Julien).  An  author  styled  Hsiang  Tzu-ching,  a native  of 
Chia-ho,  writing  on  porcelains  of  his  dynasty,  the  Mings  (near  the  close 
of  the  sixteenth  century),  stated  that  this  highly  prized  red  glaze  was 
derived  from  powdered  rubies,  so  that  after  baking  in  the  kiln  this  bril- 
liant coloring  shone  through  the  red  glaze.^  It  was  known  as  “ Pao-shi- 
hung,”  or  “precious-stone  red.”^ 

One  of  the  descriptions  left  by  this  author  (Tzii-ching)  reads: 

A wine-pot  6.50  inches  high,  copied  from  a similar  vessel  of  carved  jade  used  by  the 
Emperor.  “ The  body,  slender  below,  swelling  toward  the  top,  is  decorated  with  en- 


Bodiless”  may  also  indicate  objects  made 
throughout  of  pure  porcelain  instead  of  (as  in  the 
case  of  some  productions  of  this  period)  showing 
a combination  of  coarser  materials  only  coated 
with  porcelain. 


^Dr.  Bushell  believes  that  this  red  was  from 
copper  silicate,  and  not  from  powdered  rubies. 

® Analyzed  by  M.Salvetat  at  Sevres,  and  proved 
merely  to  be  “oxyde  de  fer  avec  du  fondant.” 


[xxi] 


HISTORICAL 


graved  cloud  scrolls,  and  bands  of  geometrical  and  spiral  pattern,  with  conical  cover, 
spirally  curved  handle,  and  spout  molded  and  engraved  in  the  form  of  a phoenix  head, 
all  covered  with  deep  red  {chi-hung)  glaze.” 

It  is  said  to  have  cost  the  owner  two  hundred  ingots  of  silver  in  paper 
notes/ 

Fish-vessels,  or  jars  decorated  with  three  red  fish  on  a pure  “snow- 
white”  ground,  were  much  esteemed,  the  fish  being  boldly  outlined  and 
red  as  “fresh  blood.”  Occasionally  these  fish  would  be  represented  swim- 
ming on  the  waves  engraved  in  the  paste,  both  on  the  inside  and  outside. 
A still  rarer  decoration,  found  on  a wine-cup,  is  described  as 

“The  white  ground  decorated  inside  and  outside  with  cloud  scrolls  engraved  in  the 
paste,  a scroll  border  above  colored  crimson;  the  handle,  a dragon  of  bold  design, 
molded  in  high  relief,  coiled  round  the  top,^  with  teeth  and  four  claws  fixed  in  the 
rim,  enameled  vermilion-red.” 


Among  the  ceramists  recorded,  mention  is  made  of  two  sisters  named 
T’a-sieou,  who  produced  delicate  cups  and  other  objects  with  the  designs 
engraved  in  the  paste.  “White  vases  with  blue  decoration”  were  also 
much  esteemed,  especially  if  the  blue  was  pale,  and  where  the  ground 
resembled  an  orange-peel  surface,  or  a faint  millet-like  elevation.  Poly- 
chrome decoration,  which  included  the  fine  red  and  blue  (usually  under 
the  glaze),  was  also  successfully  practised  and  esteemed  as  something  new. 

Among  objects  enumerated  by  the  native  author  may  be  noted  minia- 
ture vases,  called  “P’ing”;  tea-cups,  “Ch’a  Pei”;  conical  wine-cups, 
“Tou-li  Pei”;  wine-pots,  “Hu”;  rouge-box,  “Lu  Hu”;  tazza-shaped 
cups,  “Pa  Pei”;  sacrificial  vessels,  “Yi”;  water-dropper,  “Shui-chu.” 
This  period  is  specially  credited  with  the  introduction  of  the  then  new 
method  of  perforated  decoration;  a pattern  being  cut  through  the  paste 
and  dipped  into  glaze,  which,  when  baked,  shows  the  pierced  work  filled 
up  with  a thin  film  of  glaze,  giving  a delicate  transparency  to  the  design 


^ A sum  estimated  to  be  equivalent  to  about 
three  thousand  dollars  (Bushell). 

^Vessels  with  a dragon  molded  in  relief  upon 
the  rim  are,  it  may  be  added,  highly  esteemed  by 


the  Chinese  when  intact,  partly  because  of  the 
artistic  ability  required  successfully  to  execute  the 
design,  and  partly  because  old  specimens  are  sel- 
dom met  with  undamaged. 


[ xxii  ] 


HISTORICAL 

when  held  to  the  light.  This  process  has  been  imitated  in  Persia  as  well 
as  in  Europe. 

The  Ch’eng-hua  period  (1465-1487)  of  the  Mings,  one  of  the  most 
important  in  ceramic  annals,  was  noted  for  its  blue  as  well  as  other  deco- 
ration, although  it  is  stated  that  the  supply  of  fine  blue,  previously  used, 
became  exhausted,  and  that  this  color  on  porcelain  became  inferior  in 
quality;  while  the  polychrome  painting  was  brought  to  a high  degree  of 
excellence.  An  account  of  the  so-called  five-color  decoration,  as  we 
know  it  to-day,  is  also  given;  the  colors  referred  to,  other  than  blue,  are 
green,  yellow,  red,  and  the  manganese,  applied  on  the  glazed  body,  with 
the  blue  always  under  the  glaze. 

During  the  reign  of  this  Emperor  all  porcelain  painted  in  these  colors 
was  most  highly  valued;  the  designs  for  its  decoration  were  drawn  by  cele- 
brated artists,  and  some  are  said  even  to  have  been  drawn  in  the  palace. 
The  forms  were  elegant  and  original,  and  the  different  colors  carefully  ap- 
plied; from  the  specimens,  as  we  see  them  now,  we  may  gather  that  great 
progress  was  made  in  designs  from  nature;  that  flowers  and  plants  were 
the  objects  of  special  studies,  and  that  motives  were  supplied  by  the  best 
painters,  if  they  did  not  paint  upon  the  porcelain  itself. 

In  this  period  is  mentioned  a distinguished  artist  named  Kao-than-jin, 
who  made  jars  decorated  with  “peonies”  and  “chickens.”  Another 
potter,  named  Ko-tchou,  is  famed  for  his  wine-cups.^  It  is  said  that  their 
numerous  products  served  as  models  for  future  periods. 

During  the  reign  of  Hun-chih  (1488-1505)  a native  named  Hsiang 
Yuan-pien  (called  also  Hsiang  Tzii-ching)  stated  in  his  notes,  written  in 
the  sixteenth  century,  that  a light  yellow  was  most  highly  valued,  but 
glazing  or  enameling  in  other  colors  was  also  practised.  The  shades  of 
yellow  varied  from  light  to  a brown  as  on  a boiled  or  newly  husked 
chestnut.  An  orange  shade,  and  the  color  of  a hibiscus  flower,  are  also 
mentioned  in  the  same  chronicles. 

^ Hsiang  Tzii-ching  thus  describes  a pair  of  cockscombs,  narcissus,  and  other  flowers,  the  fly- 
these  cups : “ They  are  of  rounded  form,  swelling  ing  dragon-fly  and  crawling  mantis,  painted  after 
below,  so  thin  and  delicate  that  one  weighs  less  life,  in  green,  yellow,  and  crimson  enamel.” 
than  a third  of  an  ounce,  and  decorated  with  the 

[ xxiii  ] 


HISTORICAL 


In  the  period  of  Cheng-te  (1506-1521)  we  find  “ Mohammedan  blue  ” 
again  referred  to,  and  that  the  Governor  of  Yunnan  succeeded  in  obtain- 
ing it.  Some  writers  give  this  particular  epoch  the  credit  for  its  discovery. 
This  famous  “ Hoe’i-tsing,”  or  cobalt,  was  by  the  Emperor’s  command 
used  to  decorate  Imperial  porcelain,  and  during  this  period  was  called  “ great 
blue  ” and  also  “blue  of  the  head  of  Buddha.”  This  beautiful  color,  of 
such  superior  quality  that  it  cost  more  than  twice  its  weight  in  gold,  is  again 
referred  to  in  annals  as  coming  from  the  West  and  through  Arabia  (prob- 
ably from  Persia). 

With  this  material  ceramists  were  again  able  to  produce  a blue  similar 
to  that  on  the  pieces  produced  under  the  Emperor  Hsuan-te,  so  that  “blue 
and  white  ” came  into  fashion  once  more.  Genuine  examples  are  to-day 
very  rare,  and  marks  of  these  periods  cannot  be  relied  upon,  as  attempts 
have  been  made  in  all  succeeding  eras  to  reproduce  such  objects.  Two 
brilliant  kinds  of  red-glazed  porcelain  were  also  prized,  and  over-glaze 
decoration  is  also  referred  to  in  this  era. 

In  the  reign  of  Chia-ching,  or  Kia-tsing  (1522-1566),  it  is  stated  that  a 
great  deal  of  “blue  and  white”  was  made.  The  blue  was  preferred  if 
darker  in  color,  differing  from  the  pale  blue  of  the  former  period ; and  the 
authors  say  that  the  best  was  a mixture  of  the  foreign  and  native  cobalt, 
as  the  former  was  apt  to  “run  ” when  in  the  kiln. 

The  foreign  blue,  however,  failed  again  in  later  years  of  this  reign ; and, 
finally,  is  no  longer  mentioned  in  Chinese  ceramic  annals. 

Decorated  porcelain  was  characterized  by  the  fine,  deep  colors  employed, 
and  cobalt-blue  (under  the  glaze)  was  often  used  in  connection  with  a bril- 
liant red,  yellow,  violet,  and  bluish-green  (over  the  glaze)  on  a white  ground 
and  at  the  present  time  designated  as  “five-color”  pieces. 

Records  of  this  period  enumerate  especially  sacrificial  cups  (“Tan-sien”) 
that  imitated  white  jade  and  were  intended  for  the  palace  altars;  small 
“rouge-boxes”  and  other  cups  are  also  named,  and  it  is  stated  that  single- 
color glazes  were  used,  but  that  one  of  the  supplies  (red  of  copper)  failed. 
It  is  also  recorded,  as  in  the  former  epoch,  that  the  Emperor  ordered  the 
decoration  of  Imperial  porcelain  to  be  blue. 

[ xxiv  ] 


HISTORICAL 


During  this  and  the  succeeding  period,  Lung-ch’ien  (l  567-1572),  lived  a 
clever  potter  named  Ts’iii-kong  (venerable  Ts’iii),  who  was  celebrated  for 
his  copies  of  objects  made  in  earlier  periods;  his  porcelains  were  con- 
sidered the  finest  of  his  time.  A manufactory  of  porcelain  was  also  estab- 
lished in  the  province  of  Tche-kiang  (Julien)  ; the  product,  however,  was 
considered  inferior  to  that  made  at  King-te-chen. 

This  later  reign  is  particularly  noted  for  certain  porcelains  that  were  in- 
spired by  much  older  specimens,  and  especially  for  decoration  by  colored 
glazes  on  “biscuit”  paste.  These  specimens  were  thinly  glazed  in  rich 
tones:  manganese-purple,  yellow,  turquoise,  and  red.  When  the  or- 

namentation was  in  relief,  or  engraved,  differences  of  outline  and  surface 
would  keep  the  different-colored  glazes  distinct. 

The  Lung-ch’ien  period  (1567-1572)  is  especially  noted  through 
the  existence  at  that  time  of  a potter  who  settled  at  King-te-chen  and 
produced  a great  variety  of  objects,  some  of  which  excelled  in  the 
imitation  of  antiques, — “ amateurs  disputing  for  its  possession  as  soon 
as  it  left  his  hands.”  It  is  also  mentioned  “ that  they  did  not  mind 
paying  enormous  prices  for  small  pieces.”  This  statement  is  interesting 
as  showing  that  the  really  fine  pieces  were  not  always  intended  for  the 
palace. 

With  the  exception  of  the  so-called  “Mohammedan  blue,”  there  is  no 
tint  of  cobalt  which  cannot  be  found  in  this  latter  porcelain.  During  this 
reign,  and  especially  that  of  Wan-li,  which  followed,  the  government  was 
harassed  by  the  Manchu  Tartars,  who  eventually  established  the  (present) 
Ch’ing  dynasty.  The  porcelains  produced  during  these  periods  are  very 
much  alike.  While  the  product  was  enormous  and  large  orders  came 
for  the  use  of  the  palace,  the  deterioration  of  the  porcelain,  especially 
of  the  wares  made  at  the  Imperial  factories,  became  marked,  largely  owing 
to  the  disorder  of  the  empire  and  to  the  failure  in  the  supply  of  good 
materials. 

In  the  period  of  Wan-li  (l  573-1619),  many  distinguished  ceramists  are 
mentioned  in  the  Chinese  chronicles,  on  account  of  their  skill  in  making 
reproductions  of  older  porcelains,  especially  the  famous  “ Chiin-yao  ” porce- 

[ XXV  ] 


HISTORICAL 


lain,  of  the  Sung  dynasty,  and  the  so-called  porcelains  of  the  magistrates, 
termed  “ Kuan-yao,”  which  were  noted  in  the  twelfth  century.  At  Feou- 
liang  lived  the  most  famous  of  these  Wan-Ii  potters,  who  retired  secretly 
to  a porcelain-factory,  where  he  was  able  to  make  vases  of  charming  ele- 
gance. He  took  the  name  of  Ouin-tao-jin  (or  Hu-yin-tao-jen),  “the  old 
man  who  lives  in  retreat.”  Among  his  other  products  mentioned  in  detail 
are  vases  of  a purple  color,  in  imitation  of  antique  porcelain.  It  may  be 
interesting  to  note  this  later  color,  as  it  is  possible  that  the  bluish  tone  of 
the  prune-skin  (manganese)  is  referred  to  under  the  Sungs,  instead  of  a 
kind  of  celadon. 

Much  painting  was  done  over  the  glaze,  and  the  pieces  so  decorated 
are  the  “ three-color  ” and  “ five-color  ” pieces  which  have  in  late  years 
especially  reached  the  Western  world. 

The  so-called  three-color  pieces  of  this  dynasty  show  a glazing  in  yel- 
low, purple,  and  green.  The  yellow  is  usually  of  a buff  shade,  and  some- 
times dull ; the  purple  varies  from  a brownish  mouse-  to  prune-color ; and 
the  green  also  varies  from  a yellowish-green  to  a strong  emerald-color. 

The  “five-color”  specimens  are,  in  fact,  blue  and  white  pieces  with 
yellow-green,  purple,  and  red  painting  over  the  glaze.  The  red  color  is 
usually  opaque  and  varies  in  brilliancy  from  a coral-color  to  a dull,  uneven 
sienna-red,  the  other  glazes  being  more  or  less  clear  and  transparent,  with 
the  exception,  perhaps,  of  the  brown-toned  (manganese)  purple,  although 
in  fine  pieces  this  color  is  light  and  shades  into  a violet  of  clear  transpar- 
ency. 

In  these  “five-color”  decorations,  the  portions  of  the  design  meant  to 
remain  blue  were  first  painted,  and  the  pieces  glazed  and  baked;  then  the 
rest  of  the  painting  (in  the  other  colors)  was  added  over  the  glaze,  and 
the  object  baked  again,  at  a lower  temperature.  The  essential  differ- 
ence is,  that  the  blue  is  always  under  and  not  over  the  glaze,  whether 
in  the  Wan-li  or  other  Ming  periods;  while  later,  under  Kang-hsi,  for 
example,  a vitreous  blue  enamel  is  generally  used  over  the  glaze,  although 
in  rare  pieces  a blue  margin-line  under  the  glaze  may  be  noted,  especially 
on  the  “ seven-color  ” specimens. 

[ xxvi  ] 


HISTORICAL 


It  is  clearly  evident  that  some  potters  have  practised  their  art  quite 
independently,  or  have  established  kilns  that  disappeared  with  them,  and 
of  these  we  have  no  records  whatever.  This  fact  may  in  some  measure 
account  for  the  many  specimens  now  remaining  unidentified. 

Very  little  is  chronicled  or  known  about  the  ceramics  produced  under 
Shun-che,  the  first  Emperor  of  this  Manchu  Tartar  dynasty,  who  ascended 
the  throne  in  1 644  and  died  in  1661. 

The  country  remained  in  a rather  disturbed  state  during  his  reign,  and 
it  is  therefore  doubtful  if  porcelain  was  manufactured  in  any  quantity,  as 
pieces  so  marked  are  exceedingly  scarce.  It  is  also  probable  that  most  of 
the  products  bear  Ming  marks,  and  when  without  marks  are  possibly 
classed  under  the  former  dynasty. 

The  Imperial  factories  at  King-te-chen,  which  remained  closed  during 
the  last  years  of  the  Ming  dynasty,  were  not  reopened  until  the  Manchu 
sovereign  had  firmly  seated  himself  upon  the  throne. 

The  Emperor  K’ang-hsi,  who  reigned  from  1662  to  1722,  was  perhaps 
the  most  able  ruler  China  ever  possessed,  succeeding  to  the  throne  of  his 
father  when  but  eight  years  old.  Within  six  years,  when  at  the  age  of 
fourteen,  realizing  that  the  regents  did  not  understand  the  science  of  gov- 
erning, he  took  the  reins  in  his  own  hands,  ruling  with  consummate  skill 
until  his  death  in  December,  1722.  This  Emperor  was  endowed  with 
natural  ability,  activity  of  mind  and  body,  and  interested  himself  in  every 
department.  A keen  sportsman  and  a great  general,  he  was  at  the  same 
time  given  to  learning,  and  fostered  the  arts,  availing  himself  also  in  his 
studies  of  the  assistance  of  French  Jesuit  missionaries  in  astronomy,  mathe- 
matics, and  geometry,  and  on  this  account  aided  them  often  in  their  diffi- 
culties with  the  Chinese  literary  classes. 

The  potteries  in  the  town  of  King-te-chen  (Ching-te-chen)  prospered 
greatly  during  his  reign,  marked  strides  were  made  in  the  manufacture  and 
decoration  of  porcelain,  and  some  of  the  finest  examples  extant  to-day, 
here  under  our  eyes,  were  produced  toward  the  middle  of  his  reign. 

This  Emperor  selected  the  most  suitable  men  not  only  for  the  various 
government  offices  to  diffuse  education  and  to  encourage  art,  but  great 

[ xxvii  ] 


HISTORICAL 


potters  to  take  charge  of  the  Imperial  porcelain  works  in  the  prefec- 
ture of  King-te-chen  (Ching-te-chen).  The  factories  were  not  slow  to 
show  the  effect  of  these  changes  and  the  kilns  also  soon  increased  in 
number. 

The  Imperial  factory  was  burned  in  1675,  during  the  rebellion  of 
Wu  San-kuei,  but  was  soon  rebuilt,  and  in  1680  a large  order  was  given 
from  the  palace.  The  factories  at  this  time  were  under  the  supervision 
of  Lang-ting-so,  a name  that  is  great  in  ceramic  history,  who  retained  his 
office  until  1688;  and  his  product,  known  as  Lang  porcelain  (called  by 
the  Chinese,  after  the  inventor,  “Lang-yao”)  is  held  in  the  highest  esteem 
by  collectors  and  connoisseurs. 

Another  superintendent,  Ts’ing-ying-hsuan,  was  appointed  in  1683  for 
the  Imperial  factory,  and  “Ts’ing-yao”  is  the  porcelain  attributed  to  his 
invention  or  period  of  superintendence. 

To  these  men  is  due  the  credit  for  the  renaissance  of  ceramic  art  in  the 
reign  of  the  Emperor  K’ang-hsi. 

We  have  the  first  descriptions,  during  the  reign  of  K’ang-hsi,  of  the 
factories  of  King-te-chen,  written  by  Pere  d’Entrecolles,  a missionary  of  the 
Society  of  Jesus,  who  arrived  in  China  during  the  year  1 700,  and  while 
there  wrote  three  reports,  dated  Jao-tcheou,  in  the  province  of  Feou-liang, 
giving  an  account  of  the  town  where  the  Imperial  factory  of  porcelain  was 
situated.  In  a letter  dated  September  1 , 1 7 1 2,  he  stated  that  while  his  curi- 
osity would  not  have  led  him  to  study  the  subject  of  the  production  of 
porcelain,  he  felt  that  it  might  be  of  service  to  his  country  and  to  Europe, 
and  therefore  availed  himself  of  his  opportunities.  “The  town  of  King-te- 
tchin,”  he  writes,  “is  only  three  miles  distant  from,  and  a dependency  of, 
Feou-liang,  situated  in  a plain,  and  is  surrounded  by  high  mountains;  the 
one  to  the  east,  against  which  the  town  is  built,  is  outwardly  in  form  of  a 
semicircle,  and  from  the  two  adjacent  mountains  issue  two  rivers  which 
unite:  one  is  small,  the  other  very  large,  and  their  confluence  forms  a mag- 
nificent port  over  three  miles  in  length,  and  a vast  basin  wherein  the  river 
loses  much  of  its  velocity.  Frequently  in  this  large  harbor  are  moored  two 
or  three  rows  of  junks.  Entering  the  port,  the  sight  is  greeted  by  immense 

[ xxviii  ] 


HISTORICAL 


volumes  of  smoke  and  flames/  which  mark  the  outlines  of  the  town  against 
the  crescent  of  mountains  in  the  background,  whose  relative  position  may 
perhaps  be  the  reason  that  King-te-tchin  has  surpassed  all  other  localities 
in  the  production  of  porcelain.” 

The  short  reign  of  the  Emperor  Yung-cheng  (1723-1735),  following 
that  of  his  father,  K’ang-hsi,  was  nevertheless  a most  interesting  period 
in  Chinese  ceramic  art.  Yung-cheng,  like  his  father  before  him,  appears 
to  have  taken  great  interest  in  all  that  transpired  at  the  Imperial  factories, 
situated  in  the  town  of  King-te-chen  (Ching-te-chen),  and  did  not  fail 
in  expressing  his  gratification  at  every  new  discovery,  bestowing  praise 
and  admiration  upon  all  such  products  as  they  arrived  at  the  Peking 
Palace. 

As  the  rose-carmine  color,  derived  from  chloride  of  gold,  was  discov- 
ered during  that  period,  decorators  were  naturally  attracted  by  its  mag- 
nificence, and  it  at  once  dominated  their  work.  This  important  innovation 
also  introduced  many  new  varieties  in  half-tones  with  felicitous  effects,  but 
the  true  explanation  may  doubtless  be  found  in  the  superior  skill  and  energy 
displayed  by  the  superintendent,  Nien-hsi-yao,^  who  in  1727  was  intrusted 
with  the  management  of  the  Imperial  factory,  and  he  personally  super- 
intended the  execution  of  the  Emperor’s  orders,  and  was  soon  there- 
after joined  by  T’ang-ying,  a brilliant  decorator  (who  succeeded  to  the 
directorship  later,  under  Ch’ien-lung).  They  jointly  acquired  great  repu- 
tation, Chinese  writers  giving  both  officials  credit  for  special  practical 
knowledge;  they,  however,  also  enlisted  the  services  of  the  most  able 
decorators  and  potters,  and  were  thus  able  to  create  objects  that  were 
new  or  free  from  archaic  imitations,  and  so  this  era  became  transitional  as 
well  as  interesting. 


^ And  bird-like  poise  on  balanced  wing 
Above  the  town  of  King-te-tchin, — 

A burning  town  or  seeming  so, — 

Three  thousand  furnaces  that  glow 

“All  the  articles  made  by  Nien-hsi-yao — which 
are  known  as  “Nien-yao,”  or  Nien  porcelain  — 
were  graceful  in  form  and  of  fine  workmanship. 


Incessantly,  and  fill  the  air 
With  smoke  uprising,  gyre  on  gyre, 

And  painted  by  the  lurid  glare 
Of  jets  and  flashes  of  red  fire. 

Longfellow,  " Keramos.” 

They  were  chiefly  monochrome  in  color,  but 
some  were  ornamented  with  painted  flowers, 
either  incised  or  rendered  flat. 


[ xxix  ] 


HISTORICAL 


The  products  of  this  epoch  show  a gradual  reduction  into  toned  enam- 
els from  the  transparent  and  clear-colored  glazes  employed  during  the 
K’ang-hsi  regime. 

The  strong  and  vigorous  rendering  which  marks  specimens  of  the  seven- 
teenth century  merged  into  half-tones  and  more  careful  finish,  but  it  also 
became  more  hard  and  stencil-like  in  exactness. 

Superabundant  detail  in  accessories  marks  many  objects  of  the  eigh- 
teenth century  originated  under  Yung-cheng.  The  great  master-painting 
and  -drawing  of  the  Sung  and  Yiian  dynasties  were  copied,  but  the  decora- 
tive force  was  weakened  by  added  detail  or  by  scrupulous  care  in  finish, 
largely  the  fault  of  European  demands  and  doubtless  extra  cost.  On  the 
other  hand  there  exist  specimens,  which  belong  also  to  this  period,  that 
are  of  great  perfection  both  in  technique  and  purity  of  paste,  where  decora- 
tion subordinates  itself  with  tact  and  is  arranged  so  that  the  pellucid 
quality  of  the  porcelain  is  seen  to  advantage.  Especially  is  this  so  in 
smaller  pieces,  where  the  skill  of  workmanship  is  most  remarkable. 

Naturalistic  floral  decoration  was  certainly  carried  to  a perfection  un- 
known before ; also,  much  refinement  in  shape  as  well  as  decoration  is  to 
be  found  on  the  tmly  great  pieces  (palace  objects),  which  were  until  very 
recent  years  unrevealed  to  the  Western  world. 

The  dominant  rose-color  superseded  the  green  of  the  preceding  peri- 
ods. The  successive  predominance  of  these  colors  induced  Jacquemart 
to  group  them  in  two  classes, — i.e.^  “ famille  verte  ” and  “famille  ’’rose, 
— which  designations  may  not  be  very  technical,  but  satisfactorily  express 
the  characteristics  of  each  type,  and  are  now  accepted  generally,  after 
some  attempts  to  change  them. 

The  blue  and  white  porcelain  of  this  era  is  inferior  to  that  of  former 
epochs,  especially  owing  to  the  uniform  hardness  and  regularity  in  design ; 
but  the  fineness  and  perfect  quality  of  the  material  give  some  distinction 
and  beauty  to  such  pieces. 

Porcelain  was  not  looked  upon  in  this  period  merely  as  a vehicle  for 
decoration,  but  a thing  to  be  admired  in  itself,  hence  some  wonderful  white 
specimens  exist  that  are  marvels  in  technique  and  finish. 

[ XXX  ] 


HISTORICAL 


This  period  was  marked  also  by  the  production  of  certain  t)^es  and 
objects  which  are  masterpieces  of  the  Chinese  ceramists’  ingenuity  and 
skilful  workmanship.  Aside  from  the  delicate  egg-shell  plates  with  the 
rose  backs  and  wonderful  painting,  may  be  mentioned  the  vases  having 
the  body  formed  of  double  shells  with  varying  modes  of  openwork  and 
painted  decorations  in  both,  and  the  beautiful  hexagonal  and  octagonal  lan- 
terns of  delicate  egg-shell  porcelain,  reticulated  and  ornamented  with 
paintings  at  once  both  rare  and  esteemed  for  their  rich  quality. 

The  fourth  Emperor  of  the  present  dynasty  was  Ch’ien-  lung  (1736- 
1795)  the  son  and  successor  of  Yung-cheng;  and  he  also  protected  the 
ceramic  industry  with  royal  munificence  during  the  sixty  years  of  his  reign. 

In  this  period  great  quantities  of  fine  porcelain  were  made,  and  it  was 
during  this  reign  that  European  influence  began  to  affect  the  decoration 
and  the  shapes  of  Chinese  porcelain,  due  especially  to  the  trade  with  Hol- 
land and  the  Jesuit  missionaries  of  France,  which,  started  during  the  short 
term  of  Yung-ch6ng,  spread  very  rapidly. 

Imitation  of  old  wares  was  practised,  but  rather  for  native  collectors. 
Some  writers  state  that  a great  number  of  genuine  pieces  of  the  Sung 
and  Ming  dynasties  were  sent  from  the  palace  to  King-te-chen  (Ching- 
te-chen)  as  models  for  this  purpose,  although  imitation  of  ancient  objects 
always  existed,  as  shown  by  native  records,  and  also  by  the  Jesuit  fathers 
at  the  close  of  the  seventeenth  century. 

The  director  T’ang-ying,  mentioned  in  the  reign  of  Yung-cheng,  con- 
tinued his  work  and  produced  objects  that  surpassed  all  others.  He  suc- 
ceeded in  reproducing  the  effect  in  porcelain  of  precious  carved  enamels, 
and  that  of  cloisonne.  The  desire  to  imitate  other  substances,  which  had 
from  the  first  animated  the  ceramic  artists  of  China,  culminated  in  this 
reign  with  their  mastery  over  colors  and  combinations. 

They  copied  with  wonderful  closeness  objects  in  gold,  silver,  bronze, 
jade,  lacquer,  mother-of-pearl,  shells,  rhinoceros  horn,  bamboo,  wood, 
gourd-skin,  marble,  carnelian,  agate,  and  archaic  or  msted  iron.  They  imi- 
tated also,  at  least  in  pattern  and  color,  bottles  of  Venetian  glass  and 
Limoges  enamels. 

[ xxxi  ] 


HISTORICAL 


Special  attention  was  paid  at  this  time  (Yung-cheng  and  Ch’ien-lung) 
to  the  production  of  “ Yao-pien,”^  flambd,  of  which  Chinese  writers  dis- 
tinguish three  kinds,  ue,^  two  supposed  to  be  due  to  celestial  agency, 
and  the  third  to  human  ingenuity. 

Oxidulated  copper  furnishes  vitrifiable  painting  with  a fine  red.  This, 
thrown  in  a body  on  a vase,  forms  the  tint  called  “haricot,”  a kind  of 
fawn-color.  With  a further  quantity  of  oxygen  of  equal  amount  a pro- 
toxide is  formed,  producing  a beautiful  green  that  may  be  changed  into 
sky-blue  by  increasing  the  oxygenation.  The  tints  upon  a vase  may  be 
modified  indefinitely  by  a due  regulation,  at  different  periods  during  the 
process  of  baking,  of  the  currents  of  air  admitted ; or. 

When  a clear  fire  placed  in  a strong  current  draws  a considerable  column  of  air,  all 
the  oxygen  is  not  consumed,  and  part  of  it  combines  with  the  metal ; if,  on  the  other 
hand,  thick  smoke  is  introduced  into  the  furnace,  of  which  the  carbonaceous  mass, 
greedy  of  oxygen,  absorbs  everywhere  this  gas,  necessary  for  its  combustion,  the  oxides 
will  be  destroyed  and  the  metal  completely  restored.  Placed  at  a given  moment  in  these 
given  conditions,  by  the  rapid  and  simultaneous  introduction  of  currents  of  mr  and  of 
sooty  vapors  the  “ haricot  ” glaze  assumes  a most  picturesque  appearance ; the  whole 
surface  of  the  piece  becomes  diapered  with  veins  and  streaked  colorations,  changing  and 
capricious  as  the  flame  of  spirits ; the  red  oxidulate,  passing  by  violet  into  pale  blue  and 
to  the  green  protoxide,  evaporates  itself  even  completely  upon  certain  projections  which 
become  white,  and  thus  furnishes  happy  accidental  combinations.  (Jacquemart.) 


On  the  whole,  the  Ch’ien-lung  period  was  distinguished  by  mastery  of 
materials,  from  the  plain  “self-glazed”  piece  to  the  richest  landscape, 
figure,  and  flower  enamelings,  and  from  the  plain  surface  to  the  most  elabo- 
rate modeling  and  perforations. 


^ In  the  Buddhist  temple  Pao-kuo-ssu,  in  Pe- 
king, is  a famous  “ Yao-pien”  image  of  Yuanyin, 
a finely  designed  figure  enameled  in  colors ^ — light 
blue,  crimson,  yellow,  and  two  shades  of  brown  ; 


of  which,  in  an  ode  from  his  pen  engraved  on  the 
shrine,  the  Emperor  Ch’ien-lung  says  the  goddess 
descended  into  the  kiln  to  fashion  em  exact  like- 
ness of  herself. 


[ xxxii  ] 


BLUE  AND  WHITE 


Although  no  mention  is  made  of  painting  or  decoration  in  blue  before 
the  Yiian  dynasty  (notable  for  “ Lin-ch’uan-yao  ” and  “ Nan-teng-yao  ”), 
yet  blue  was  from  the  earliest  times  one  of  the  most  favored  colors.  We 
may  note  that  in  the  Chin  dynasty  (266-419)  blue  porcelain  (or  pottery) 
was  called  “ P’iao-tz’u,”  said  by  Dr.  Bushell  to  resemble  a certain  pale- 
blue  shade  of  silk. 

In  the  T’ang  dynasty  this  blue  was  called  the  “color  of  the  distant 
hills”  in  the  posterior  Chou  dynasty  (954-959),  the  “blue  of  the  sky  after 
rain.”  In  another  period  it  was  called  the  “ prohibited  color,”  because  it 
was  reserved  for  the  Emperor  or  the  palace,  and  not  to  be  seen  by  the 
common  people.  Under  the  Sung  dynasty  (960-1279),  although  other 
colors  were  also  used,  the  famous  porcelain  of  Jii-chou  was  of  a pale-blue 
glaze.  The  finest  Imperial  porcelain  of  this  epoch  was  a sort  of  peacock- 
blue,  and  the  crackled  “ Ko-yao,”  although  mostly  celadon,  contained 
some  specimens  of  a bluish  tinge  like  the  celebrated  monochrome  porce- 
lains of  Lung-ch’iian. 

As  no  reference  is  made  in  early  Chinese  literature  to  blue  decoration, 
Mr.  Monkhouse  aptly  concluded,  in  his  critical  notes,  that  “blue  and 
white,  for  practical  purposes  (that  is,  for  a collector),  commenced  with 
the  Ming  dynasty  ” ; and  this  refers  especially  to  Wan-li,  Hsuan-te, 
Cheng-te,  and  Chia-ching,  although  later,  in  the  Ch’eng-hua  period,  the 
foreign  blue  failing,  the  Chinese  used  their  native  blue,  prepared  from 
cobaltiferous  ore  of  manganese.  However,  during  the  K’ang-hsi  period 
it  may  be  said  that,  with  the  exception  of  the  fine  “ Mohammedan  blue  ” 
(“Su-ma-ni”  or  “Su-ni-po”),  there  is  no  tint  of  cobalt  which  cannot 
be  found.  While  the  Ming  blue  is  boldly  painted  and  dark,  and  also 
distinguishable  by  more  massive  forms,  the  later  blue  and  white  porcelain 

m 


A CATALOGUE  OF 


is  finer  in  paste  and  technical  perfection,  and  possesses  a gradation  and 
palpitating  quality  of  color  which  particularly  gives  it  a charm  that  one 
may  miss  in  older  types. 

The  blue  of  cobalt  differed  in  its  shades  at  different  periods  in  China, 
as  appears  by  statistics;  and  it  requires  an  acute  color  sense  to  define  the 
niceties  and  distinctions  of  one  kind  from  another,  without  taking  into 
account  the  different  pastes  or  glazing  as  well  as  forms.  Each  period 
has  varied  certain  shapes,  and  this  variation,  however  slight,  is  sufficient  for 
the  Western  connoisseur  to  place  the  provenance  of  an  object  in 
accordance. 


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CHINESE  PORCELAINS 


No.  I 

Blue  Hawthorn  Beaker,  cabinet  size,  with  wide,  flaring  neck ; fine  white 
hard-textured  porcelain,  perfectly  glazed  over  the  blue  painting,  which 
sustains  its  transparent  quality  uniformly  and  agreeably. 

The  prunus-tree  motive  starting  from  the  base  covers  the  entire  body  by  its  branch- 
ing stems,  bearing  large  blossoms  and  buds,  which  are  carefully  held  in  white  reserve 
from  the  relucent  blue  ground,  that  is  penciled  over  with  darker  crossings  and  reticula- 
tions to  represent  cracking  ice,  similar  in  design  and  coloring  to  the  rare  ginger-jars  of 
this  class. 

The  details  of  this  design  are  rendered  with  freedom  by  a master  hand,  on  a paste 
of  faultless  quality  that  with  its  glaze  is  exceedingly  soft  to  the  touch  and  of  rather 
oily  texture. 

The  base  shows  a broad  white  margin  and  a clean-cut  foot,  which  underneath  bears 
a double  blue  ring-mark,  under  glaze,  and  typical  of  its  ascribed  period,  K’ang-hsi 

(1662-1722). 

Height,  9^/4  inches. 

Diameter,  5^/4  inches  at  rim. 


[3] 


A CATALOGUE  OF 


No.  2 

Pair  of  Jars,  blue  hawthorn  pattern,  cylindrical  form,  with  low  bell- 
shaped covers,  fine  hard-paste  porcelain,  invested  with  a brilliant-blue 
painting  under  a faultless  glazing. 

The  decoration  presents  a modulated  and  translucent  blue  ground,  with  network 
and  crossings  in  a darker  shade  to  resemble  the  fissures  in  breaking  ice,  interrupted  by 
foliated  and  fan-shaped  medallions,  and  clusters  of  prunus  or  peach  blossoms,  in  white 
reserve,  distributed  here  and  there  over  the  blue  field. 

The  several  panels  sustain  flowers  and  herbage  growing  amid  or  near  large  silicic 
pointed  rocks,  all  carefully  rendered  in  relucent  blue  of  varying  shades. 

The  covers,  v^th  knobs,  are  similarly  decorated,  and  also  include  fan  and  leaf  me- 
dallions with  flowers. 

A white  margin  is  shown  at  rim  and  base. 

The  underneath  foot  bears  a double  blue  ring-mark  under  the  glaze. 

Period  of  K’ang-hsi  (1662—1722). 

Height,  7 V2  inches. 

Diameter,  5 V2  inches. 


[4] 


CHINESE  PORCELAINS 


No.  3 

Pair  of  Blue  and  White  Bottles,  pear  shaped,  with  slender  necks,  the  fine 
white-textured  porcelain  sustaining  a landscape  decoration  painted  in 
brilliant  shades  of  cobalt-blue  under  faultless  glazing. 

Picturesque  rocks,  trees,  shrubs,  and  water  scene  showing  boatmen,  with  distant 
views  of  houses,  complete  a composition  suggesting  the  work  of  old  masters  of  the  Ming 
or  Sung  period,  that  doubtless  inspired  the  decorator  of  these  objects  during  the  period 
of  their  provenance. 

The  neck,  which  is  in  white,  is  encircled  at  the  top  by  several  rings,  including  a 
fretted  band. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  7 V2  inches. 

Diameter,  4 inches. 


[5] 


A CATALOGUE  OF 


No.  4 


Blue  and  White  Bottle,  cabinet  size,  pear  shape,  with  long  neck,  of  fine 
hard-paste  porcelain  with  pellucid  texture. 

The  decoration,  painted  under  a perfect  glaze,  in  brilliant  cobalt-blue,  consists  in  the 
so-called  “ fan  pattern  ” together  with  other  panels  showing  symbolic  and  gift  objects ; 
these  are  arranged  in  six  separate  vertically  formed  panels,  the  fan-shaped  medallions 
displaying  varying  subjects  carefully  rendered,  including  figures  with  interior  or  landscape 
accessories. 

The  neck  is  encircled  at  shoulder,  center,  and  rim  by  a small  “ herring-bone  ’’-fret 
border,  from  which  spring  foliated  details  in  arabesque  form  and  conventional  lotus 
leaves  in  blue  with  white  stems  and  outlines. 

Underneath  foot  is  white,  without  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  10  inches. 

Diameter,  4 V2  inches. 


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CHINESE  PORCELAINS 


No.  5 

Covered  Confection  Bowl,  blue  and  white,  of  globular  shape  and  fine 
hard-paste  porcelain,  decorated  in  arabesque  design  involving  four  large 
lotus  flowers,  between  scrolled  stems,  painted  in  dark  blue  under  a 
translucent  glaze. 

The  shoulder  is  encircled  by  a small  chevron  fret  band  of  a slightly  lighter  shade. 
The  cover  sustains  a design  similar  to  that  of  the  bowl,  and  is  tipped  with  a small 
grotesque  “ dog  Fo.” 

The  underneath  foot  bears  a leaf-mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  5 inches. 

Diameter,  3 7e  inches. 


m 


A CATALOGUE  OF 


No.  6 

Small  Jar,  blue  and  white,  slender  ovoid  form,  fine  hard-textured  porcelain, 
with  low  flat  cover. 

The  motive  of  the  decoration,  which  is  in  brilliant  blue  under  a perfect  glaze,  consists 
in  conventionalized  “ feather  ” or  fern  scrolls,  involving  small  floral  buds  with  a double 
lancet-shape  interior : a symbolic  design  of  ancient  form  found  only  on  small  objects  of 
good  quality. 

The  small  cover  sustains  a similar  design. 

The  foot  bears  a leaf-mark. 

Era  of  K’ang-hsi  (1662— 1 722).  i 

Height,  6Ve  inches. 

Diameter,  3 V4  inches. 


CHINESE  PORCELAINS 


No.  7 

Small  Jar,  blue  and  white,  slender  ovoid  form,  fine  hard-textured  porce- 
lain, with  low  flat  cover. 

The  motive  of  the  decoration,  which  is  in  brilliant  blue  under  a perfect  glaze,  consists 
in  conventionalized  “ feather  ” or  fern  scrolls,  involving  small  floral  buds  with  a double 
lancet-shape  interior : a symbolic  design  of  ancient  form  found  only  on  small  objects  of 
good  quality. 

The  small  cover  sustains  a similar  design. 

The  foot  bears  a leaf-mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  6 inches. 

Diameter,  3 inches. 


[9] 


A CATALOGUE  OF 


No.  8 

Small  Jar,  blue  and  white,  slender  ovoid  form,  fine  hard-textured  porce- 
lain, without  cover. 

The  motive  of  the  decoration,  which  is  in  brilliant  blue  under  a perfect  glaze,  consists 
in  conventionalized  “ feather  ” or  fern  scrolls,  involving  small  floral  buds  with  a double 
lancet-shape  interior : a symbolic  design  of  ancient  form  found  only  on  small  objects  of 
good  quality. 

The  foot  bears  a leaf-mark. 

Era  of  K’ang-hsi  (1662—1722). 

Height,  57s  inches. 

Diameter,  3 inches. 


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CHINESE  PORCELAINS 


No.  9 

Blue  and  White  Tea-pot,  globular  form,  with  small  handle  and  spout : 
fine-textured  hard-paste  porcelain. 

The  surface  is  uniformly  covered  with  a brilliant  blue  ground,  and  shows  a lotus 
arabesque  design,  in  white  reserve,  involving  a naked  boy  on  each  side,  among  the 
scrolled  sterns.^ 

A chevron  fret  borders  the  rim,  and  the  cover  is  decorated  to  match,  and  carries  a 
fine  white  arabesque  motive  with  two  shades  of  blue,  and  also  tipped  by  a button. 
The  handle  and  spout  show  the  glazed  white  paste  with  simple  decoration. 

The  foot  underneath  bears  a blue  ring  with  a spherical  object  with  ribbons,  symbol 
of  “ the  Pearl  " {chin  or  cA«). 

Era  of  K’ang-hsi  (1662-1722). 

Height,  4 inches. 

Diameter,  4 inches. 

' Tlie  combination  of  children  and  lotus  flow-  spotless.  This  motive  is  usually  found  only  on 
ers  is  Buddhistic  and  supposed  to  show  that  the  faultless  porcelain, 
hearts  of  youth  are  good,  as  the  flowers  are 


[11] 


A CATALOGUE  OF 


No.  10 

Blue  and  White  Tea-pot  (ancient  wine-vessel),  of  tall  ovoid  form,  with 
attenuated  neck  and  bell-shaped  cover,  the  handle  and  spout  of  hard 
porcelain  twisted  to  represent  cords. 

The  surface  of  the  body  shows  slightly  relieved  white  network,  vsdth  diamond-shaped 
panels,  painted  in  deep  blue,  under  the  glaze,  including  a small  floral  spray  in  white 
reserve. 

The  shoulder  and  neck  are  uniformly  decorated  in  floral  arabesque  design,  and  a 
similar  flowered  border  finishes  the  base. 

The  cover  sustains  an  arabesque  motive  divided  by  lines  into  panels,  and  is  tipped 
by  a molded  fruit  knob. 

Under  foot  without  mark. 

Era  of  K’ang-hsi  (1662-1  722). 

Height,  6 V2  inches. 

Diameter,  4 inches. 


|I2] 


CHINESE  PORCELAINS 


No.  11 


Blue  and  White  Tea-pot,  melon-shaped,  with  bamboo-formed  handle  and 
spout : hard-paste  porcelain  of  fine  white  texture. 

The  six  grooved  and  outlined  panels  are  each  separately  decorated  with  varying 
floral  plants  in  jardinieres  with  stands. 

The  small  cover  is  topped  by  a small  button,  and  is  decorated  to  match  motive  below. 
The  foot  is  vvdthout  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  4V4  inches. 

Diameter,  4 inches. 


[13] 


A CATALOGUE  OF 


No.  12 


Pair  of  Small  Bottles,  blue  and  white,  with  compressed  body  and  long 
cylindrical  neck,  of  hard-paste  porcelain. 


Decorated  in  a lotus-flower  arabesque  motive,  boldly  rendered  in  dark  blue,  under 
the  glaze,  with  stems  arranged  in  conventional  form  of  ornament,  characteristic  of  early 
periods. 

Long  conventional  lotus  leaves  surround  the  neck  from  the  shoulder,  and  a small 
series  of  leaves  encircle  the  upper  part  near  the  rim,  that  is  finished  by  a chevron  fret 
border. 

The  base  is  surrounded  by  a series  of  dots  arranged  in  groups  on  the  white  body. 
Era  of  K’ang-hsi  (1662-1722). 


Height,  6'/2  inches. 
Diameter,  3 V4  inches. 


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CHINESE  PORCELAINS 


No.  13 


Pair  of  Small  Bottles,  blue  and  white,  pear-shaped,  with  small  necks, 

white  semi-soft-paste  porcelain,  perfect  glazing,  and  pellucid  color. 

The  decoration  is  in  two  distinct  shades  of  blue,  painted  before  glazing,  and  repre- 
sents a combination  of  the  so-called  “ lace  pattern  ” and  the  triangular  lancet  border 
(surrounding  the  shoulder  and  base),  curiously  known  as  the  “ Vandyke  pattern,”  a motive 
more  analogous  to  the  Chinese  adaptation  of  the  fungus  “ Ling-chi.” 

The  four  foliated  panels  encircling  the  body  show  the  blue  filled  in  and  leaving  an 
effective  arabesque  design,  in  white  reserve,  involving  a lotus  flower : the  same  scheme 
is  carried  into  shoulder  and  base  borders  and  the  small  panels  at  neck. 

The  neck  is  covered  with  a flowered  diaper  minutely  drawn,  ending  at  the  rim  in  a 
chevron  band. 

Foot  bears  a leaf-mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  7 '/2  inches. 

Diameter,  4 inches. 


A CATALOGUE  OF 


No.  14 

Pair  of  Blue  and  White  Bottles,  pyriform,  with  slightly  compressed  and 
raised  body,  ending  in  a long  cylindrical  neck : fine  hard-paste  porce- 
lain of  perfect  texture. 

The  decoration,  which  is  under  brilliant  glaze,  presents  two  grotesque  dragons 
(“  Mang  ”)  surrounded  by  flowers  and  conventionalized  flames. 

The  neck  is  encircled  by  ring-bands  of  various  designs,  including  a nicely  drawn  open 
arabesque  motive,  together  with  a curious  fern  band,  and  long  palm  leaves,  reaching 
near  the  top,  which  is  finished  by  simple  lines. 

The  base  is  embellished  with  arabesques  on  a white  ground,  and  the  foot  underneath 
bears  a flower-mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  10  inches. 

Diameter,  4^4  inches. 


[16] 


CHINESE  PORCELAINS 


No.  15 

Blue  and  White  Vase,  cabinet  size,  cylindrical,  with  attenuated  neck,  of 
fine  hard-textured  porcelain  decorated  in  cobalt-blue  under  a pellucid 
glazing. 

The  design  consists  in  numerous  bands,  several  of  which  are  painted  in  blue  scrolled 
arabesques  on  a white  ground;  the  others  show  blue  groundwork  with  the  designs  in 
reserve : i.e.,  in  the  band  surrounding  middle  of  vase,  on  which  dragons  are  represented 
with  conventionalized  flames  or  nebulae,  the  ground-color  presents  a clear  vibrating  blue, 
and  the  pattern  is  sometimes  designated  as  “dragon  on  band.” 

Four  set  foliated  panels  near  shoulder  inclose  white  arabesques  that  involve  small 
lotus  flowers,  surrounded  by  a free  ornamental  motive,  jointly  forming  a rich  bordering. 

A flowered  chevron  border  also  surrounds  the  shoulder  and  base,  while  the  neck  is 
inclosed  by  palm  leaves  with  penciled  stems,  the  remaining  portion  of  neck  being  white ; 
two  simple  lines  finish  the  under  side  of  rim. 

The  foot  underneath  is  marked  by  a double  rim. 

Its  provenance  is  easily  ascribable  to  the  period  of  K’ang-hsi  (1662-1722). 

Height,  1 1 ' 0 inches. 

Diameter,  4 ' 4 inches. 


[D] 


A CATALOGUE  OF 


Garniture  formed  by  five  specimens,  in  “blue  and  v\^hite,”  of  the  so-called 
“Lange-lysen  pattern,  composed  in  the  following  order,  and  begin- 
ning with  the  center : 


No.  16 


Tall  Jar-shaped  Vase,  with  cover,  of  pure  white  hard-paste  porcelain, 
painted  in  brilliant  dark  and  lighter  shades  of  blue  upon  a white  body 
of  translucent  texture. 


The  symmetrical  desigir  covering  the  vase  presents  a series  of  slightly  raised  lotus- 
petaled  panels,  which  rise  in  three  rows  or  tiers  each  doubly  outlined  in  blue,  sustain- 
ing flowering  plants  in  varied  jardinieres  upon  stands  alternately  with  the  graceful  fig- 
ure of  a lady  on  veranda  with  balustrade,  attired  in  gracefully  flowing  robes  in  a style 
of  the  Ming  dynasty,  and  variously  engaged  in  feminine  amusements,  motherly  devotion 
being  also  depicted  on  the  upper  section  by  the  companionship  of  a child. 

The  field  above  the  panels,  including  the  shoulder  and  neck,  is  filled  in  with  floral 
sprays,  and  also  encircled  by  a band  in  “herring-bone ’’-fret. 

The  low  bell-shaped  cover,  with  blue  knob,  is  decorated  with  divisions  and  similar 
alternate  subjects. 

The  foot  bears  leaf-marks  in  blue. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 8 V4  inches. 

Diameter,  7 inches. 

^ The  appellation  “Lange-lysen”  was  first  given,  and  under  this  term  (or  “ long  Elizas  ”)  they  are 
in  Holland,  to  the  objects  from  China  with  this  now  generally  known  in  England  and  America, 
design,  on  account  of  the  long,  slender  figures ; 


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CHINESE  PORCELAINS 


No.  17 


Pair  of  Tall  Beakers,  with  the  so-called  “ Lange-lysen  ” pattern;  comet 
form,  with  a trumpet-like  neck. 

The  bodies  of  these  beakers  are  uniformly  decorated  in  brilliant  shades  of  blue  upon 
a white  paste  of  translucent  and  pure  texture,  the  decoration  varying  only  in  a few  de- 
tails from  that  of  the  companion  pieces : i.  e.,  the  slightly  reused  and  blue-outlined  lotus- 
petal  panels  are  here  arranged  in  four  tiers  or  rows ; the  largest  and  the  smallest  of  these 
surround  the  neck,  another  row  fills  the  central  body,  and  the  lower  section  is  encircled 
in  a like  manner. 

The  uppermost  and  larger  tier  of  panels,  as  in  the  foregoing  vase,  presents  a richly 
attired  lady  accompanied  by  a child,  whom  she  alternately  holds  in  her  arms  or  has  by 
her  side  on  a veranda,  showing  a balustrade  and  other  accessories. 

The  second  row  of  panels  sustains  alternately  a young  lady  engaged  in  practising  on 
a guitar  or  a flute  and  the  jardinieres  of  flowers. 

On  the  third  line  of  panels  the  figure  is  shown  in  graceful  poses  of  a dance  with  cym- 
bal accompaniment,  alternating  also  with  the  flowering  plants ; while  in  the  fourth  and 
lowest  row,  a figure  of  a young  lady  is  presented  caressing  birds  and  a rabbit ; the  ac- 
cessories generally  being  balustrades  and  tables  or  stands. 

The  field  over  the  panels,  in  the  form  of  spandrels,  is  slightly  depressed  and  filled 
wath  floral  sprays;  two  bands  (one  in  lozenge  pattern  and  the  second  chevron-fretted) 
encircle  the  globular  center  of  body;  and  a small  “herring-bone ’’-fret  is  also  shown  un- 
der the  top  rim,  finishing  a highly  pleasing  decoration  in  deep  blue  under  glaze. 

Each  specimen  bears  a leaf-mark  with  double  ring  in  blue. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  17' Q inches. 

Diameter  at  top,  8', k,  inches. 


[19] 


A CATALOGUE  OF 


No.  18 


Pair  of  Tall  Jar-shaped  Vases,  with  covers,  of  the  so-called  “Lange- 
lysen  ” type,  and  of  similar  form  to  the  center  piece. 

These  vases  are  uniformly  decorated  in  brilliant  shades  of  blue  upon  a white  ground 
of  fine  quality  and  even  texture;  the  design,  which  is  symmetrical  and  equally  disposed 
over  the  surface,  presents  three  tiers  of  lotus-petal  panels,  that  are  slightly  raised  and 
encircle  the  body,  each  sustaining  its  own  design,  edged  with  blue  lines. 

The  upper  row  of  large  panels  displays  a lady  in  gracefully  flowing  attire,  daintily  oc- 
cupied with  flowers  and  dancing  the  figure  appears  on  each  panel  against  a background 
strewn  with  flowers,  and  the  raison  d'etre  may  be  found  in  the  middle  row  of  panels, 
representing  warriors,  noble  horsemen,  and  hunting  scenery. 

The  third  and  lowest  row  of  panels  show,  alternately,  a lady  in  graceful  pose  or  slow 
dance  with  tiny  fans,  and  the  conventional  flower-pots  with  their  stands. 

The  depressed  field  above  the  panels,  surrounding  the  shoulder  and  the  neck,  is  filled 
in  with  floral  sprays  and  encircled  by  a “ herring-bone”-fret  band. 

The  low  bell-shaped  covers  have  a blue-tipped  knob,  and  are  invested  with  an  alter- 
nate figure  and  flower-pot  decoration  similar  to  the  subjects  on  lower  row  of  panels. 
The  paste  and  the  quality  of  the  cobalt-blue  exemplify  the  highest  type  of  their  class. 

Each  foot  bears  the  six  character-marks  (apocryphal)  of  Ch’eng-hua  (1465-1487), 
dynasty  of  Ming. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 9 V2  inches. 

Diameter,  8V2  inches. 

^The  arrangement  of  flowers  centuries  ago  was  considered  an  accomplishment  for  a lady  of  rank, 

and  is  an  art  of  Chinese  origin. 


[20] 


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CHINESE  PORCELAINS 


No.  19 


Tall  Blue  and  White  Vase,  cylindrical  form  with  rounded  shoulder  and 
attenuated  neck  ; so-called  club  shape,  of  fine  contour. 

Hard  white-textured  and  semi-egg-shell  porcelain,  of  rare  purity,  displaying  under 
glaze  painting  of  remarkable  vitality  and  in  rare  deep  cobalt. 

The  spirited  warrior  subject,  carried  around  vase,  represents  an  episode^  involving 
heroes  of  the  wars  between  “the  Three  Kingdoms.”  Ch’ou  Yiin  was  a famous  re- 
tainer of  Liu  Pei  (afterward  King  of  Shuh).  The  latter  was  at  one  time  (195  A.  D.) 
defeated  by  Ts’ao-Ts’ao;  and  Ch’ou  Yiin,  in  rescuing  an  infant  son  of  his  chief,  was 
closely  pursued  by  one  of  the  nval  leaders,  when  suddenly  a great  chasm  yawned  be- 
fore him.  Urging  his  horse  {vide  escaping  horseman),  he  cleared  the  chasm  and  escaped. 
The  leader  of  Ts’ao  referred  to  is  shown  on  a dappled  horse,  followed  by  a standard- 
bearer  with  several  swordsmen  at  his  side. 

The  third  horseman,  approaching  from  behind  rocks,  is  another  famous  hero,  Kuan 
Y ii,  of  the  period,  distinguished  by  his  burly  height  and  stern  mien,  seen  holding  aloft  a 
long,  ancient  weapon,  and  rushing  to  the  aid  of  his  companion  in  arms,  Ch’ou  Y iin. 

The  accessories  of  landscape  include  a high  silicic  peak,  water  and  trees;  the  roof 
of  a partly  visible  royal  pavilion,  suggesting  the  proximity  of  Liu  Pei’s  domains. 

The  white  tubular  neck  is  encircled  by  the  usual  ring-borders,  key-fretted  and  curled- 
fungus  design,  with  a line  of  small  dots  below. 

The  fine  white  foot  is  without  mark. 

The  drawing  is  characterized  by  technical  mastery  and  power  of  expressing  action. 
Its  provenance  may  easily  be  set  at  the  close  of  the  seventeenth  century,  when  the 
cobalt-blue  was  at  its  best. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 8 '4  inches. 

Diameter,  8 inches. 

'From  the  celebrated  historical  novel  “ San- 
kua-chih,”  or  “ Records  of  the  Three  Kingdoms.” 

This  is  the  most  popular  work  of  its  kind  in 
China,  and  details  the  triangular  contest  for  the 
throne  waged  by  Lu  Pei,  assisted  by  Ch’ou  Y tin, 

Chang  Fei,  and  Kuan  Yii,  against  Ts’ao-Ts’ao, 


after  his  secession  from  Lu  Pei,  and  the  Slian 
family,  which  resulted  in  the  partition  of  the  em- 
pire among  the  house  of  Han  of  Szechuen  and 
those  of  Wuand  of  Wei,  founded  respectively  by 
Liu-suan-te  and  Ts’ao  Meng-te  (A.  D.  220- 
280). 


A CATALOGUE  OF 


No.  20 

preceding: 
same  bril- 

The  central 

figure  is  a lady  of  high  rank,  surrounded  by  attendants,  receiving  an  elderly  messenger, 
who  is  kneeling ; one  of  the  attendants  at  her  side  holds  a long  tablet,  and  another  be- 
hind bears  a tall  fan  of  state.  The  drooping  standard  is  held  by  a young  man,  while 
two  others,  bearing  banners,  suggest  the  arrival  (or  departure)  of  some  accredited  per- 
son or  official. 

The  accessories  include  a long  table  ■with  vases  (one  holds  the  two  symbolical  feathers 
and  coral  stick),  a garden  seat,  and  a large,  spiral-bordered  screen,  which  forms  the 
background,  helped  by  large  palm  trees  and  other  plants. 

The  picture,  composed  'with  decorative  skill,  is  also  admirably  rendered  in  the  vary- 
ing tints  of  the  rare  cobalt-blue,  and  exactly  corresponds  with  its  companion  in  this  par- 
ticular. 

The  neck  sustains  the  fretted  and  other  ring-bands,  with  dots,  as  in  the  foregoing. 

The  foot  is  also  unmarked,  and  shows  the  white,  perfect  porcelain  that  amateurs  praise 
so  much. 

Era  of  K’ang-hsi  (1662-1  722). 

Height,  1 8 V4  inches. 

Diameter,  8 inches. 


Tall  Blue  and  White  Vase,  club-shaped,  companion  to  the 
fine-textured  paste  of  rare  pellucid  quality,  displaying  the 
liant  deep-blue  painting,  under  an  equally  perfect  glazing. 

The  pictorial  subject,  carried  around  the  vase,  shows  a garden  terrace. 


[22] 


CHINESE  PORCELAINS 


No.  21 

Tall  Blue  and  White  Vase,  of  graceful  baluster  form:  massive  hard 
textured  porcelain,  decorated  in  very  deep  cobalt-blue,  under  the  glaze, 
in  the  so-called  “tasseled”  design. 

The  motive  shows  a series  of  about  eleven  bands  or  borders,  one  above  the  other; 
the  principal  one  on  lower  section  simulates  fringed  tassels;  a second  border  of  similar 
design  invests  the  neck,  and  below  each  of  these  are  floral  arabesque  bands;  while  the 
base  and  shoulder  sustain  blue  scalloped  borders  with  outlines  of  separation  in  white 
palmation  form. 

The  neck  also  sustains  two  such  broad  borders,  one  of  which  connects  at  shoulder 
with  two  small  bands  (in  chevron  and  scalloped  patterns),  and  the  second  is  near  the 
rim,  where  it  is  finished  by  a small  band  of  chevron  fret;  the  inside  is  similarly  treated, 
with  a small  band  at  the  edge. 

The  under  foot  is  unglazed,  and  without  a mark;  its  paste  and  color  suggest  early 
K’ang-hsi,  while  the  form  and  motive  are  those  of  an  earlier  period. 

Height,  17%  inches. 

Diameter,  7%  inches. 


[23] 


A CATALOGUE  OF  CHINESE  PORCELAINS 


No.  22 


Brilliant  Blue  “Hawthorn”  Jar/ with  original  dome-shaped  cover. 


The  form  is  ovoid,  and  identical  in  contour  with  other  famous  specimens  seen  in  but 
few  collections,  and  so  highly  prized. 

The  paste  is  of  the  purest  hard  texture,  fine-grained,  exquisitely  white,  and  flawlessly 
clear  throughout;  its  decoration  is  executed  in  the  most  precious  cobalt-blue,  character- 
ized by  great  depth  and  intensity,  and  imposed  with  special  care  for  variations  and  mot- 
tling, as  shown  by  the  delicate  shadings  done  before  glazing. 

The  design  consists  of  four  separate  branches  of  the  prunus  or  plum  tree,  known  in 
China  as  “ Mei-hwa,”  alternately  spreading  from  base  and  neck,  loaded  with  numerous 
finely  rounded  buds  and  blossoms;  the  petals  and  stems  are  in  white  reserve  and  drawn 
with  great  precision,  and  the  remainder  of  the  body  is  filled  in  by  the  undulating  and 
cumulus  blue  color  that  is  much  enhanced  in  deepness  by  reticulation  and  crossings 
with  darker  lines  to  represent  cracking  ice  (symbolizing  the  breaking  up  of  winter) ; the 
rim  at  neck  is  finished  by  a narrow  dentate  or  crenulated  band  generally  noted  on  the 
best  “hawthorn”  jars  of  this  class. 

A white  band  borders  the  base,  bearing  a hair-line  in  blue,  and  the  foot  shows  the 
typical  white-glazed  paste  without  mark. 

The  jar  embodies  a masterly  technical  perfection  of  type  that  is  attributable  only  to 
the  period  of  the  Emperor  K’ang-hsi  (1662—1  722). 


Height,  1 0 V4  inches. 

Diameter,  8 Vs  inches. 

^ TTiese  famous  jars,  so-called  “ hawthorn  ” and 
“ ginger  ” jars,  are  remarkable  for  their  richness 
and  depth  of  color,  seldom  found  on  other  blue 
and  white  objects;  their  clear,  strong,  and  full 
azure-blue,  bordering  on  the  color  of  a fine  sap- 
phire, is  easily  recognizable  from  later  products 
and  copies  of  their  form  and  style  of  decoration. 


in  which  the  color  will  be  found  either  tinged 
with  violet  or  of  a dull  and  grayer  quality. 

The  jar  here  under  consideration  very  proba- 
bly belonged  to  the  class  used  as  tribute  to  Im- 
perial favor,  and  served  also  as  royal  presentation 
pieces. 


[24] 


POWDER  BLUE 


One  of  the  most  intelligent  records  dealing  with  the  methods  and  accom- 
plishments of  Chinese  ceramists  is  embodied  in  the  letters  of  P'  re  d’Entre- 
colles,  a French  missionary  who  went  to  China  in  1 700.  These  letters  cover 
a period  of  twenty-two  years  (during  the  reign  of  the  Emperor  K’ang-hsi), 
contain  much  information  concerning  the  technique  of  objects  in  porce- 
lain, and  have  been  of  great  utility  to  all  subsequent  writers  on  the  subject. 

The  following  information,  dealing  in  part  with  a class  that  we  have 
here  before  us,  is  extracted  from  d’Entrecolles’s  letter  of  September,  1712. 
Referring  to  powder  blue,  he  wrote  that  “the  blue  used  for  souffle  sur- 
faces is  very  carefully  prepared  from  the  time  it  is  mined,  and  only  the 
smaller  particles  of  the  mineral  (cobalt)  are  selected  for  the  first  grade. 

“Pieces  steeped  in  this  color  were  not  considered  as  valuable  as  those 
with  the  color  deposited  by  blowing,  a process  requiring  the  utmost  care; 
and  such  objects  were  valued  according  to  the  brilliancy  of  the  glazed 
result. 

“In  this  process  the  color  is  blown,  according  to  the  worthy  Pere,  from 
the  extremity  of  a bamboo  tube,  on  which  a piece  of  gauze  is  attached 
to  one  end,  on  which  the  prepared  color  is  put,  by  dipping,  or  applied 
with  a bmsh;  then  the  tube  is  directed  towards  surface  on  an  object  to 
be  decorated,  and  blowm  from  the  other  end;  the  fine  powdered  bits  gradu- 
ally cover  the  required  surface  uniformly,  according  to  the  skill  of  the  deco- 
rator. 

“If  reserved  spaces  are  left,  these  are  painted  separately  or,  after  the 
glazing,  in  one  variety;  the  white  reserve  medallions  are  also  decorated 
m cobalt-blue,  but  before  the  glaze,  and  heightened  uniformly  by  the  firing 
together  with  the  blue  souffle. 


[25] 


A CATALOGUE  OF 


“In  the  production  of  the  second  sort  the  Chinese  varied  the  monotone 
color  of  the  souffle  treatment  by  painting  in  polychrome  colors  on  the 
white  medallions  after  the  first  firing. 

“The  white  reserve  spaces  partake  of  many  forms;  the  shapes  of  a leaf, 
flower,  or  fruit  are  favorite  outlines,  and  are  made  by  cutting  them  out  in 
paper  and  fixing  them  when  wet  on  the  object  before  applying  the  blue” 
(so-called  powder-blue  souffle,  termed  by  the  French  “bleu  de  poudre” 
and  also  “bleu  fouette”). 


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CHINESE  PORCELAINS 


No.  23 


Powder-blue  Tea-pot,  fine  hard-paste  porcelain,  in  the  form  of  a jar,  with 
handle  and  short  spout,  uniformly  covered  in  deep  and  brilliant  blue 
souffle  glaze,  displaying  a reserved  medallion  on  two  sides,  decorated 
with  flowers  growing  amid  rocks  and  other  herbage,  in  bright  colors, 
of  the  “famille  verte”  style,  on  a pellucid  white  ground. 

The  upper  edge  and  the  base  are  uniformly  surrounded  by  a string  of  raised  beads, 
and  the  rim  is  encircled  by  a gilt-fret  band. 

The  flat  cover  is  tipped  by  a small  knob,  and  also  bears  a gilt  arabesque  tracery. 
White  foot,  without  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  4 inches. 


127] 


A CATALOGUE  OF 


No.  24 


Pair  of  Cylindrical  Vases,  “royal  blue,”  cabinet  size  and  so-called  club 

shape,  of  pure  white  hard-textured  porcelain. 

The  vases  are  invested  with  a brilliant  blue  souffle  glaze,  including  finely  penciled 
tracery  in  gilding  on  the  shoulder  and  also  between  the  reserved  white  upright  panels. 
The  panels  are  separately  decorated  with  the  figure  of  a lady,  in  graceful  attitude,  carry- 
ing a fan,  during  her  promenade  in  a terraced  garden  surrounded  by  balustrade  and  trees, 
the  reverse  showing  flowers  and  plants  all  beautifully  executed  in  the  “seven”  colors  of 
the  “famille  verte”  palette. 

White  foot,  without  mark. 

Era  of  K’ang-hsi  (1662—1722). 

Height,  9V2  inches. 

Diameter,  4 inches. 


[28] 


CHINESE  PORCELAINS 


No.  25 

Powder-blue  Vase,  tall  cylindrical  form,  with  sloping  shoulders,  and  at- 
tenuated and  slightly  flaring  neck  (so-called  club  shape),  of  fine  white 
hard-textured  paste,  with  a brilliant  blue  souffle  glaze,  varied  by  a series 
of  panels  reserved  in  white,  and  separately  painted  in  polychrome  colors 
(over  the  glaze),  in  the  “famille  verte”  variety. 

The  four  largest  panels  surrounding  the  body  of  the  vase  are  upright,  and  each  dis- 
plays a Hoovering  plant  symbolizing  its  season  of  the  year;  four  small  square-shaped 
panels  with  inverted  comers  on  the  shoulder  also  hold  floral  subjects  on  a white  ground. 
The  neck  shows  three  panels  in  oblong  shape,  with  flowers  and  insects. 

The  specimen  throughout  is  of  high  quality  and  shows  its  period,  K’ang-hsi  ( 1 662- 

1722). 

White  glazed  foot,  without  mark. 

Height,  1 7 inches. 

Diameter,  7 '/2  inches. 


[29] 


A CATALOGUE  OF 


No.  26 

Powder-blue  Bottle,  cabinet  size,  pear  shape  with  slender  cylindrical 
neck,  fine  hard-paste  porcelain,  covered  in  sapphire-blue  souffle  under 
a brilliant  glaze,  showing  three  white  reserved  panels  in  quatrefoil  form, 
separately  decorated  in  “famille  verte”  colors. 

The  symbolic  objects  on  one  panel  display  a vase  with  two  peacock  feathers  and  a 
piece  of  coral,  and  near  it  a tripod  scroll-holder;  the  other  accessories  are  Taoist  attri- 
butes. The  remaining  two  panels  are  similarly  decorated  and  rendered  with  much 
regard  for  detail,  and  are  painted  in  “seven”  colors. 

White  foot,  without  mark. 

K’ang-hsi  period  (1662—1722). 

Height,  1 1 V2  inches. 

Diameter,  5%  inches. 


[30] 


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CHINESE  PORCELAINS 


No.  27 

Powder-blue  Bottle,  cabinet  size,  pyriform,  of  graceful  contour,  with  small 
bulb  on  neck,  fine  hard-textured  porcelain,  covered  in  brilliant-blue 
souffle,  and  displaying  four  foliated  panels  in  white  reserve. 

The  two  larger  panels  are  quatrefoil,  and  the  two  smaller  are  leaf-shaped,  each 
separately  embellished  in  “famille  verte”  floral  designs  (including  birds),  carefully  de- 
picted, in  bright  transparent  colors. 

Foot  white,  without  mark. 

Produced  in  the  era  K’ang-hsi  (1662-1722). 

Height,  10  inches. 

Diameter,  4'/4  inches. 


[31] 


A CATALOGUE  OF 


No.  28 

Powder-blue  Jar,  of  ovoid  form  and  graceful  contour,  with  dome  cover, 
fine  white  hard-textured  porcelain,  brilliantly  glazed  over  a rare  quality 
of  “royal-blue”  souffle  (commonly  called  “powder  blue,”  and  also 
“bleu  fouette”),  with  nine  white-reserved  panels  of  varying  forms, 
separately  decorated  with  “famille  verte”  floral  subjects,  over  the  glaze, 
in  bright  colors,  among  which  green  predominates. 

The  three  larger  medallions  surround  the  main  body,  are  circular,  and  display  dif- 
ferent floral  subjects,  notably  one  with  a finely  drawn  branch  of  peonies  and  a long- 
plumaged  Feng-huang,  the  second  with  lotus  flowers,  and  the  third  with  chrysanthemums 
and  peacock;  three  square-shaped  panels  with  floral  stems  are  below,  and  the  shoulder 
sustains  the  other  three,  which  are  fan-shaped  and  include  similar  flower-painting  on 
the  pellucid  white  body-glaze. 

The  sapphire-blue  souffle  surface  also  carries  an  “ over-glaze  ” embellishment  in  gild- 
ing, a floral  and  herbage  tracery  between  the  large  medallions,  and  at  base  a linear 
motive,  with  lily  blossoms;  the  neck  is  encircled  by  a fungiform  scallop  tracery  in  gold. 

The  dome-top  cover  also  carries  a round  panel  with  “famille  verte”  decoration  on 
the  white  reserve. 

Underneath  foot  is  in  white,  bearing  a blue  ring-mark  under  the  glaze. 

Era  of  Kang-hsi  (1662-1722). 

Height,  12%  inches. 

Diameter,  1 0 inches. 


[32] 


CHINESE  PORCELAINS 


No.  29 


Grand  Plaque,  of  massive  fine-textured  porcelain,  with  a deep  “powder- 
blue”  border,  and  also  elaborate  gilt  tracery  that  includes  a lotus  palma- 
tion,  together  with  emblematic  and  gift  objects,  alternating  with  chry- 
santhemum blossoms. 

This  border  connects  with  the  multifoiled  edging,  in  brilliant-red  arabesque  motive, 
and  frames  a pictorial  subject  on  central  panel,  which  is  painted  in  transparent  colors 
of  the  “famille  verte”  palette,  showing  a procession  of  young  people  in  the  foreground, 
bearing  symbols  of  various  kinds,  viewed  by  a group  of  ladies,  occupying  a summer- 
house on  a high  stone  terrace,  who  are  doubtless  accompanying  the  singing  of  the  chil- 
dren with  the  music  of  two  instruments.  Other  children  approach  from  an  opposite 
direction,  rolling  a large  ball  with  emblematic  or  allegorical  device  of  “ riches.”  The  back- 
ground containing  a leafless  tree,  the  scene  therefore  suggests  an  autumn  celebration. 
This  plate  bears  a blue  hall-mark,  indicating  a treasured  object. 

Era  of  K’ang-hsi  (1662-1722). 

Diameter,  20  V2  inches. 


[33] 


WHITE  PORCELAIN 


White  porcelain,  not  intended  for  decoration  in  color,  is  produced  in  glazed 
and  unglazed  (biscuit)  form.  The  latter  is  comparatively  rare  in  Chinese 
porcelain,  and,  as  a general  thing,  is  found  used  only  on  small  objects  or 
statuettes,  in  molded  form,  or  with  perforated  embellishments. 

Glazed  white  porcelain  is  also  of  two  distinct  t)^es — i.e.,  hard  and  soft 
paste;  of  these  the  first  variety  is  largest  and  varies  considerably  in  quality. 
Those,  however,  which  may  be  attributed  to  the  best  periods  represent 
the  acme  of  technical  skill  and  perfection  in  pure  porcelain,  and  the  paste 
in  such  pieces  will  be  generally  found  of  a pure  white  pellucid  texture  and 
brilliancy,  according  to  its  provenance. 

The  soft-paste  porcelain  of  China  is  distinguishable  more  especially  by 
a very  fine  crackle  in  the  glazed  surface,  and  a creamy  white  tint,  that  in 
some  specimens  resembles  new  ivory;  or,  generally  speaking,  a softer  white 
is  revealed  than  in  the  hard-paste  porcelain,  and  in  good  specimens  the 
glaze  will  be  found  closely  blended  with  the  paste,  imparting  a beautiful 
“satiny”  texture;  and  it  will  be  noticed  that  objects  in  soft  paste  are  sur- 
prisingly light  in  weight. 

The  embellishment  on  objects  intended  to  remain  white  includes  raised 
or  pressed  ornamentation  as  well  as  reticulated  designs;  the  “rice-grain” 
pattern  (a  most  popular  mode)  consists  in  a fret  or  star  diaper  motive, 
pierced  in  the  body  of  the  porcelain,  and  then  filled  in  with  glaze,  leaving 
the  pattern  semi-transparent.  The  work  of  piercing  the  paste  requires  con- 
siderable skill,  especially  when  the  design  is  complicated,  such  as  leaves 
and  flowers,  a dragon,  or  a phoenix. 

The  white  porcelain  from  the  Imperial  factories  at  King-te-chen  (or 
Ching-te-chen)  is  of  a most  beautiful  quality,  both  in  substance  and  shape; 

[35] 


A CATALOGUE  OF 


and  it  is  interesting  to  learn  from  Chinese  sources  that  white  porcelain  is 
used  at  Peking,  in  the  Imperial  household,  during  times  of  mourning. 

The  fine  white  porcelain  made  under  the  Sungs,  and  known  as  “Ting- 
yao,”  is  probably  the  oldest  of  this  type  extant,  and  also  the  most  cele- 
brated. Reproduced  in  nearly  every  succeeding  period,  such  objects  have 
remained  unrivaled  in  their  translucent  and  lustrous  quality.  These  prod- 
ucts of  the  early  Sungs  are  described  in  contemporary  annals  as  resembling 
the  “mutton-fat”  tinge  of  polished  jade,  while  the  later  types  are  some- 
what more  dull  in  color,  with  minutely  crackled  creamy-white  glaze,  a 
heavier  paste  being  used  than  on  the  original  product. 

Another  white  porcelain,  known  as  “Fuchien,”  was  produced  during 
the  Sung  dynasty.  The  best  specimens  of  this  type  show  a pale  rice- 
toned  glaze,  while  the  paste  is  of  a heavy  texture  with  engraved  designs 
characteristic  of  this  era. 

The  most  noted  white  porcelain  produced  during  the  Yiian  dynasty  is 
known  as  “Shu-fii,”  but  native  authors  state  that  it  was  first  merely  a 
copy  of  the  famous  “Ting-yao”  made  under  the  northern  Sungs.  Identi- 
fied specimens  show  similar  lightly  engraved  surfaces  under  the  cream  or 
ivory  white  glaze,  notable  for  its  pleasing  soft  texture. 

The  “Fen-ting,”  or  white  Ting  porcelain,  is  a particular  kind  of  soft- 
paste  porcelain,  named  also  after  “Ting-yao”  of  the  Sungs,  and  made 
under  the  succeeding  dynasties  down  to  more  recent  periods.  “Fen-ting- 
yao”  decorated  with  blue  is  highly  prized  by  all  collectors,  and  more  gen- 
erally known  as  blue  and  white  “soft-paste”  porcelain.  It  usually  has  a 
fine  crackled  surface. 

The  Yung-lo  period  is  celebrated  for  its  white  porcelain,  as  are  some 
of  the  later  periods  of  the  Ming  dynasty,  especially  Hsuan-te;  but  the 
greater  number  of  extant  specimens  in  white  date  from  the  present  dynasty. 
The  finest  and  technically  most  perfect  of  this  class  were  produced  during 
the  K’ang-hsi,  Yung-cheng,  and  Ch’ien-lung  periods. 


[36] 


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CHINESE  PORCELAINS 


No.  30 


A Multifoil  Vase  ( “ blanc  de  Chine  ” ),  of  rare  technique,  having  a 
melon-grooved  globular  body  with  overhanging  lobes  that  are  scal- 
loped in  fungiform,  or  lancet-shaped. 

The  fine  white  paste  blended  with  the  glaze  shows  a satiny  texture  as  well  as  a 
beautiful  design,  which  is  uniformly  sustained  in  low  relief,  and  delicately  molded  in 
the  paste  ; the  arabesque  motive,  involving  the  tiger-lily  and  foliage,  is  continued  on 
the  round  surfaces  between  the  grooves  and  running  into  the  neck,  and  the  lip  of  each 
fungiform  lobe  sustains  an  archaic  emblematic  bat  in  low  relief. 

A raised  band  of  palmation  finishes  the  base. 

The  underneath  panel  of  foot  includes  an  imposed  seal-mark  of  the  era  Yung-cheng 

(1723-1735). 

Height,  8 Vs  inches. 

Diameter,  6 inches. 


[37] 


A CATALOGUE  OF  CHINESE  PORCELAINS 


Nos.  3]  and  32 

Two  White  Cups  (“a  jour”),  of  fine  hard  paste  with  blue  borders. 

The  fine  pierced  diaper-work  is  in  combination  with  five  circular-formed  medallions 
that  sustain  two  figures  each  in  high  relief,  undercut,  and  with  gilt  robes,  the  heads  re- 
maining white  biscuit ; representing  ten  Chinese  mythological  persons  — probably  the 
eight  (Pa-sien)  legendary  beings  of  the  Taoist  sect,  together  'svith  Lao  Tsze  and  Si 
Wang,  the  Genii  Queen. 

The  base  is  decorated  with  a band  in  blue  foliation  under  the  glaze,  and  a second 
blue  band  in  blue  diapered  design  encircles  the  top  near  the  rim. 

The  foot  is  white  biscuit  and  of  typical  texture,  produced  under  the  Emperor  K’ang- 
hsi  (1662-1722). 

The  two  cups  vary  only  in  the  blue  border  near  rim:  i,e.,  one  shows  a diapered 
band  at  the  top,  and  the  second  carries  instead  a dentate  band  ; otherwise  they  are  alike. 

Height,  2 inches. 

Diameter,  S'/z  inches. 


[38] 


SINGLE-COLOR  SPECIMENS 


Among  the  transcendent  creations  of  Chinese  ceremists,  aside  from 
their  decorated  porcelains,  monochrome  types  have  figured  with  consid- 
erable distinction  from  remote  periods  to  the  present  day.  In  a general 
way,  it  may  be  gathered  from  early  records  that  single-colored  objects 
antedate  decorated  porcelains  by  many  centuries.  The  several  periods 
certainly  have  produced  a remarkable  variety  of  monochrome  pieces, 
and  of  these  the  red-colored  glazes  (derived  from  the  oxide  of  copper  and 
gold), — /.c./‘sang  de  boeuf,” — the  “peach-skin”  or  “peau-de-peche” 
“ruby,”  and  “ rose ’’-carmine  (“yen-chi,”)  or  “rouge  d’or”  are  most  es- 
teemed ; the  other  reds  which  are  of  the  same  oxide  include  the  “sang- 
de-pigeon,”  “ cmshed-strawberry,”  and  “liver”  tints;  the  reds  from  the 
oxide  of  iron  include  the  coral  and  varying  shades  of  vermilion. 


COLOR  OF  THE  PEACH 

The  so-called  “peach-bloom”  glaze  is  the  rarest  of  the  red  varieties. 
True  specimens  of  this  class  are  small  and  of  uniformly  high  character, 
in  the  best  quality  of  paste,  perfect  glazing,  and  of  singularly  attractive 
forms.  As  the  number  of  these  beautiful  examples  are  most  limited,  it 
is  possible  that  they  were  made  for  the  palace  by  some  particular  potter 
who  alone  had  the  secret  or  skill  of  producing  this  glaze.  All  the  au- 
thentic pieces  bear  the  characteristic  six  character  marks  (in  fine  blue  un- 
der the  glaze)  of  the  K’ang-hsi  period  in  unique  perfection.  All  later 
reproductions  are  therefore  readily  distinguishable,  and  in  all  particulars, 
— glaze,  paste,  or  form, — as  also  by  the  marks. 

Some  writers  have  concluded  that  the  so-called  “peach-bloom”  was 
an  “over-fire”  accident  when  the  glazes  of  the  “sang-de-boeuf”  varie- 

[39] 


A CATALOGUE  OF 


ties  had  been  used;  but  it  may  be  proved  that  these  writers  could  have 
seen  but  few  real  specimens  of  the  former  color.  The  shapes  in  the 
“ sang-de-boeuf  ” variety  are  totally  distinct,  just  as  the  forms  are  dis- 
tinct in  the  “peach-bloom”  glazes;  therefore  an  accidental  result  in 
glazing  is  out  of  the  question  with  regard  to  the  peach  color.  Vide  Nos. 
36.  37.  and  38. 

COLOR  OF  OX  BLOOD 

The  particular  red-colored  glaze  known  as  “sang  de  boeuf  ” was  doubtless 
first  produced  under  the  Mings,  and  at  a period  when  the  paste  was  not 
purely  kaolinic.  The  reason  for  this  hypothesis  is  the  fact  that  brilliant- 
red  glazes  are  often  referred  to  which  were  not  always  from  iron ; and 
that  even  in  later  periods,  when  the  paste  became  whiter  and  purer  by 
kaolin,  the  potters  would  nevertheless  endeavor  to  simulate  the  more  an- 
cient product  by  using  a more  gritty  body  substance,  and  very  old  types 
exist  of  this  character  to-day.  The  variety  of  these  fine  red  glazes  is 
very  great,  but  the  best  are  about  exhausted  in  China,  as  the  native 
owners  have  long  since  been  induced  to  part  with  their  treasures  of  this 
kind  by  remarkable  temptations  from  European  and  American  agents. 

LANG-YAO 

The  “sang-de-boeuf”  pieces  now  known  more  generally  as  “Lang- 
yao”  (the  Chinese  term)  may  be  said  to  be  also  out  of  the  market. 
This  latter  type  is  doubtless  the  most  beautiful  as  well  as  technically  of 
the  highest  perfection,  named  after  the  famous  potter  Lang-ting-so, 
who  was  a director  of  the  Imperial  factory  at  King-te-chen  under  the 
Emperor  K’ang-hsi.  A few  of  the  distinct  characteristics  may  be  con- 
veyed in  words  and  supported  with  an  example  in  this  collection.  Vide 
No.  35. 

The  true  “ sang  de  boeuf  ” is  without  a tinge  of  purple  (all  such  are 
modem  and  a trade  product) ; the  color  may  shade  to  a brownish-red  or 
have  a tinge  like  that  of  old  sherry,  and  when  the  red  partakes  of  yel- 

[40] 


CHINESE  PORCELAINS 


low  it  is  unquestionably  of  the  true  class.  Fine  pieces  are  curiously 
modeled  and  always  very  transparent,  with  a glaze  inclined  to  be 
crackled. 

A certain  characteristic  of  the  true  “Lang-yao”  is  the  correct  line 
finished  at  the  base,  showing  the  white  foundation  color,  glazed  and 
without  any  signs  of  grinding  off ; the  same  remark  applies  to  the  upper 
rim,  which  is  usually  distinguished  by  a clean  glaze,  in  either  an  ivory 
tint  or  a crackled  celadon  that  is  clearly  defined  at  the  edge. 

To  produce  this  color  the  glaze  has  to  be  melted  to  a perfect  fluidity.^ 
Potters  usually  cannot  prevent  it  from  running  down  so  that  the  neck  is 
often  thin  and  streaked,  and  the  overrunning  glaze  at  the  foot  is  often 
in  the  form  of  drops,  or  even  large  masses,  that  must  be  broken  off 
in  removing  the  object  from  the  kiln;  then  it  is  necessary  to  grind 
the  foot  down  evenly,  which  is  never  the  case  in  the  fine  objects  under 
consideration  here. 

It  should  also  be  stated  that  the  true  pieces  of  “ Lang-yao,”  or  ” sang 
de  boeuf,”  are  usually  glazed  on  the  interior  as  well  as  underneath  the  foot 
in  a greenish  tint,  like  a light  celadon,  or  a crackled  rice-colored  glaze  on 
the  interior  or  underneath  may  be  also  noted.  The  most  remarkable  pieces 
will  be  found  to  have  possibly  a dash  of  red  along  with  this  glazing. 


APPLE-GREEN 

Among  the  green  variety,  in  solid  colors,  the  so-called  “apple-green,”  a 
translucent  glaze  with  a brown  crackle,  is  of  the  rarest.  The  body  or 
paste  is  usually  of  the  same  texture  as  the  “ Lu-lang-yao,”  and  therefore 
it  has  been  assumed  by  authorities  that  this  color  was  produced  at  the  same 
time,  and  also  under  the  direction  of  Lang-ting-so ; especially  as  this  color 
is  enumerated  among  glazes  in  the  records  of  King-te-chen.  Vide  No. 
34. 

^ It  has  often  been  stated  that  these  reds  are  formed  different  conclusions  after  their  trials, 
produced  from  copper  alone  ; but  potters  who  and  it  has  been  suggested  that  the  oxide  of  gold 
have  experimented  with  this  color  have  usually  is  necessary  to  produce  such  a color. 

[41] 


A CATALOGUE  OF 


Other  greens,  of  iridescent  quality,  were  also  invented  under  Ts*ang 
-hsuan,  and  called  “ snake-skin  ” color  and  “ cucumber-green.”  Other 
varieties  of  green-tinted  glazes  have  been  produced  at  other  periods,  but 
none  so  distinguished  as  the  “apple-green,”  with  its  strongly  marked 
crackle. 

C&.ADON 

The  celadon  color,  on  the  other  hand,  is  the  oldest  of  all  the  green  glazes 
extant,  and  is  referred  to  in  the  earliest  periods  of  ceramic  art,  especially 
predominating  in  the  T’ang  dynasty  and,  later,  during  the  Sungs.  Made 
in  different  factories,  it  also  varies  in  tints  and  qualities. 

The  oldest,  perhaps,  existing  to-day  is  the  product  known  as  “Chiin- 
chou-yao”  and  “Ko-yao”  of  the  Sung  dynasty.  “ Jii-yao,”  or  “ Kuan- 
yao,”  is  the  oldest  celadon  known  in  history,  but  it  is  doubtful  if  any  speci- 
mensexist  now.  “ Lung-ch’uan-yao,”  another  celadon,  was  shipped  largely 
to  India  and  Persia,  where  it  is  known  as  “Martabani.” 

Celadon  was  first  known  in  Europe  during  the  seventeenth  century,  and 
there  it  received  its  name.  Vide  Glossary. 

CRACKLE  WARE 

The  “cafe-au-lait”  crackle  porcelain  is  among  the  oldest  of  the  so-called 
single-colored  pieces.  Crackled  vases  were  called  “ Tsui-khi-yao  ” under 
the  southern  Sungs’  dynasty,  and  are  described  in  the  history  of  King-te- 
chen,  where  we  learn  that  the  clay  employed  was  coarse  and  compact, 
and  that  “the  vases  were  thick  and  heavy.”  Some  types  are  termed  by 
the  Chinese  “Mi  -se  ” (the  color  of  yellow  millet  seed). 

It  was  recorded  by  Pere  d’Entrecolles  that  at  these  factories  (King-te- 
chen)  they  used  “ Hoa-chi”  (steatite)  powder,  and  mixed  it  with  the  glaze, 
from  which  the  vases  would  exhibit  cracks  running  in  every  direction,  as 
though  broken  into  thousands  of  pieces.  They  were  occasionally  rubbed 
over  with  colored  inks,  red  or  black;  then  was  seen  a network  of  charm- 
ing veins  (m  either  color),  imitating  the  cracks  of  ice.  D’Entrecolles  also 
states  that  a kind  of  glaze  called  “Tsoui-yeou”  was  used  during  his  time 

[42] 


CHINESE  PORCELAINS 


(1700-1722)  to  produce  innumerable  little  cracks  over  the  surface  when 
applied  alone,  but  that  it  also  rendered  the  object  very  brittle,  and  destroyed 
its  ringing  tone  when  struck. 

IMPERIAL  YELLOW  AND  OTHER  TINTS 

The  so-called  “Imperial  yellow”  is  among  the  most  popularly  known  of 
the  yellow  variety  of  glazes.  Its  color  resembles  very  much  the  yolk 
of  an  egg  and  is  without  crackle.  The  “mustard-yellow”  is  a heavy, 
even  enamel  color,  with  a fine  network  of  crackle ; in  the  finer  examples 
an  iridescence  is  noticed  together  with  porcelain  of  light  substance  and  a 
brown  metallic-colored  edge,  while  in  all  later  examples  the  paste  and  glaze 
are  heavy  and  coarse,  when  the  iridescence  does  not  count. 

Several  kinds  of  light  yellow-glazed  porcelains,  with  transparency,  were 
produced  in  the  K’ang-hsi  and  the  later  periods,  having  a fine  even  quality 
without  any  crackle,  and  usually  found  upon  a fine  white  paste,  the  finer 
examples  being  almost  as  thin  as  egg-shell.  Among  these  may  be  noted 
the  canary  and  citron  or  lemon-yellow,  a straw-color,  and  a sort  of  sul- 
phur-tinted glaze. 

The  purest  yellows  come  from  antimony,  and  the  orange-tint  shows 
also  the  presence  of  iron. 


BLACK  COLORS 

The  black-enameled  pieces,  usually  termed  “mirror-black”  on  account 
of  their  very  brilliant  and  even  surface,  are  noteworthy ; especially  those 
produced  during  the  K’ang-hsi  period,  with  an  iridescence,  sometimes  re- 
sembling the  soft  black  sheen  of  the  raven’s  plumage  and  therefore  termed 
“ raven’s-wing”  black.  This  iridescence  is  found  only  in  small  specimens, 
and  when  of  perfectly  uniform  quality  is  most  treasured. 

Other  blacks  have  been  produced,  of  metallic  and  more  or  less  oily  sur- 
face, that  date  back  to  more  remote  periods,  and  generally  have  a dense 


A CATALOGUE  OF 

body  substance  with  less  kaolin  than  the  black-enameled  porcelains  of 
later  periods. 

TURQUOISE  COLOR 

The  turquoise-blue  glaze  is  another  characteristic  color  produced  by  the 
Chinese  in  very  early  periods,  with  a great  range  in  its  different  shades 
and  quality.  The  darkest  tones  with  uniform  color  are  the  most  esteemed, 
and  particularly  those  with  the  shad  or  “fish-roe”  crackle,  although  there 
are  some  light  and  very  beautiful  shades  on  the  smaller  objects,  especially 
those  attributed  to  the  period  of  K’ang-hsi. 


OTHER  COLORS 

Among  the  other  so-called  “ solid-color  pieces”  may  be  noted,  aside  from 
the  various  white  tints,  “robin’s-egg  blue,”  “pearl,”  “ lavender,”  “ duck- 
egg  blue,”  “moonlight”  or  “clair  de  lune,”  “sapphire-blue,”  “bleu 
fouette”  or  “ powder-blue”  souffle,  “ Mazarin  blue,”  “lapis-blue  glaze,” 
“salamander-red”  souffle  (which  is  like  the  coral-red  from  oxide  of  iron), 
“pistachio  green,”  “camellia-leaf  green,”  “cucumber-green,”  “haricot 
vert,”  “olive-green,”  “ iron-rust  ” or  “t’ieh-siu”  (with  small  black  metallic 
specks,  or  with  a metallic  luster),  “tea-leaf,”  “tea-dust”  or  “ch’a-mo” 
(flecked  with  light  spots,  or  souffle),  “olive,”  “magenta,”  “violet,” 
“ plum-color” or  “aubergine-purple”  (from  manganese),  and  “camelian- 
red.” 

FLAMBE  AND  VARIEGATED  COLORS 


The  so-called  “flambe  ” variety,  by  itself  commonly  termed  “ splashed  ” or 
“transmutation”  and  called  in  China  “Yao-pien,”  is  said  to  have  been 
first  an  accidental  product,  although  in  later  periods  produced  at  will.  Of 
this  latter  type  there  exist  some  beautiful  examples  which  may  be  attrib- 
uted to  earlier  periods.  They  have  been  fully  described  in  several  works 
on  the  subject,  notably  by  Dr.  Bushell,  Monkhouse,  Jacquemart  and  others. 

[44] 


CHINESE  PORCELAINS 


Of  the  variegated  glazes  we  may  also  note  a kind  of  marbleized  effect  of 
several  colors  and  a kind  of  souffle,  known  as  “harlequin”  porcelain,  and 
composed  of  several  colors  disposed  over  the  surfaces  in  clouded  effects. 
Other  glazes  of  Tsing  porcelain  imitate  iron,  bronze,  wood,  ivory, 
agate,  etc. 


[45] 


A CATALOGUE  OF 


No.  33 

Green  Bottle,  with  cylindrical  neck  and  compressed  pear-shaped  body,  of 
fine  porcelain  covered  with  a translucent  and  brilliant-green  glaze,  re- 
sembling dark-colored  emerald,  or  Imperial  green  jade  (“Fai-tsou-i”). 

This  color  is  carried  solidly  from  the  foot  to  the  interior  of  neck,  and  the  body  sus- 
tains a superposed  black  decoration,  displaying  a bit  of  landscape,  in  which  a pine  tree, 
and  also  a boat  with  a man,  are  principally  noticeable,  painted  on  the  green  body-color 
before  glazing. 

The  underneath  foot  is  glazed  without  mark. 

Probably  produced  during  the  first  part  of  the  eighteenth  century  (Ch’ang  dynasty). 

Height,  8 inches. 

Diameter,  5 inches. 


[46] 


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CHINESE  PORCELAINS 


No.  34 


Small  Green  Vase  (“Lu-lang-yao”),  ovoid  shape,  with  low,  slightly  curved 
neck,  of  dense  grayish-white  porcelain,  invested  with  a brilliant  light 
“apple-green”  glaze,  translucent  and  like  “Imperial”  green  jade,  show- 
ing a network  of  brown  crackle  uniformly  dispersed  over  the  body. 

The  rim  and  interior,  as  underneath  the  foot,  are  light  celadon  glaze  with  crackle. 
Objects  with  this  particularly  rare  color  are  attributed  by  authorities  as  the  product  of 
Lang-ting-so,  period  of  K’ang-hsi  (1662-1722). 

Height,  4%  inches. 

Diameter,  3 '/4  inches. 

From  the  Startseff  Collection,  Tientsin. 


[47] 


A CATALOGUE  OF 


No.  35 


Sang-de-boeuf  Bottle  (“Lang-yao”),  with  globular  body  and  cylindrical 
neck:  white  paste  of  characteristic  texture,  covered  with  fine  light- 
red  monochrome  glaze,  which  is  sustained  with  exceptional  brilliancy 
throughout. 

The  light  pellucid  sang-de-bceuf  glaze  is  shown  with  ruby-like  clearness,  and  with 
slight  changes  or  mottling  in  its  translucent  color ; beginning  from  the  upper  neck,  where 
the  edge  is  defined  by  a narrow  rim  of  the  soft  white  body-color,  it  ends  at  the  foot, 
marked  by  a few  delicate  flecks  or  vertical  streakings  along  the  neck  and  some  variation 
into  lighter  shades  that  distinguishes  it  and  its  class.  A feature,  also,  is  the  well-defined 
white  margin  at  the  base,  where  great  technical  perfection  is  shown  in  the  ending  of  the 
liquescent  red  glaze  with  much  precision. 

The  foot  of  this  example  has  a clean  biscuit  edge  underneath  a cream,  or  “rice-tinted,” 
crackle  glaze,  the  interior  of  neck  showing  a similar  crackle  glaze  and  also  bearing  a 
splashing  of  the  exterior  ruby  tint. 

Made  during  the  prefecture  of  Lang-ting-so,  under  the  Emperor  K’ang-hsi  (1662- 
1722). 

Height,  1 3 inches. 

Diameter,  8 V2  inches. 

From  the  Startseff  Collection,  Tientsin. 


[48] 


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CHINESE  PORCELAINS 


No.  36 


Shallow  Coupe,  of  fine  white  (“Ts’ing-yao”)  porcelain,  with  the  exterior 
surface  invested  in  a brilliant  peach-colored  glaze  (“peau-de-peche”), 
showing  interesting  mottling  in  deeper  and  lighter  tones  of  the  most 
esteemed  peach-bloom  variety,  including  markings  and  flecking  of  a moss- 
like green,  characteristic  of  the  best  examples  of  its  class. 

The  interior  is  glazed  in  white,  and  the  foot  is  finished  by  a fine  rim,  and  bears 
underneath  in  blue  the  six  character-marks  of  K’ang-hsi  (1662—1  722). 

Height,  1 inches. 

Diameter,  4 Va  inches. 

From  the  Startseff  Collection,  Tientsin. 


[49] 


A CATALOGUE  OF 


No.  37 

Semi-spherical  Coupe,  of  fine  white  (“Ts’ing-yao”)  porcelain. 

This  specimen  is  glazed  in  a brilliant  “peach-bloom”  color  (“  peau-de-peche”),  with 
beautiful  variations,  in  its  mottling  resembling  the  skin  of  a ripening  peach,  and  display- 
ing deep  tones  melting  into  the  shade  of  ashes-of-roses  or  pale  and  softer  tints,  with  moss- 
green  flecks  also  visible,  especially  at  the  small  neck:  a characteristic  coloring  found  only 
in  the  most  unique  specimens. 

The  foot  is  finished  with  fine  edge,  and  underneath  the  white  glaze  bears  in  blue  the 
six  character-marks,  Ta-tsing,  K’ang-hsi,  Nien-chi  period  (1662—1722). 

Height,  3 V2  inches. 

Diameter,  at  base,  5 inches. 

From  the  Startseff  Collection,  Tientsin. 


[50] 


CHINESE  PORCELAINS 


No.  38 


Small  Amphora  or  Vase,  elegant  in  form,  of  the  finest  white  (“Ts’ing-yao”) 

porcelain. 

This  vase  is  invested  with  a bnlliant  and  deep  peach-colored  glaze  (“couleur-de- 
peche  ”),  solidly  and  evenly  covering  the  body  and  the  interior  of  neck,  its  delicate  mottling 
imitating  the  ripened  shadings  on  the  skin  of  a peach ; the  form  and  texture  combined  make 
one  of  the  most  prized  objects  among  the  rare  and  beautiful  peach-bloom  class. 

The  underneath  foot  has  a fine  edge  and  bears  in  blue,  under  glaze,  the  six  char- 
acters, Ta-ming,  K’ang-hsi,  Nien-chi  (1662-1722). 

Height,  6 inches. 

Diameter,  2 Vs  inches. 

From  the  Startseff  Collection,  Tientsin. 


[51] 


A CATALOGUE  OF 


No.  39 

Semi-egg-shell  Plate,  octagonal  in  form,  of  hard-paste  (“Ts’ing”)  porce- 
lain; the  decoration  shows  two  borders:  the  inner,  with  a purplish 
enameled  ground,  involving  the  lotus,  is  overlapped  by  the  outer  bor- 
dering with  its  foliations,  including  blossoms  and  a fret  design. 

These  borders  encircle  the  center  panel,  depicting  a landscape  with  two  women; 
one  is  in  a boat,  accompanied  by  a child,  and  the  other  is  in  the  foreground  upon  the 
shore,  carrying  a child  on  her  back,  and  a tree  bearing  red  blossoms  completes  the 
scene. 

The  under  side  is  glazed  in  white. 

Late  K’ang-hsi  or  Yung-cheng  (1723-1735). 

Diameter,  7 V2  inches. 


[52] 


No.  39 

Semi-egg-shell  Plate 
( Y ung-cheng) 


r 


CHINESE  PORCELAINS 


No.  40 


Reticulated  Hanging  Vase,  of  hard  white-paste  porcelain,  resembling 
entwining  cords  or  open  passementerie  work. 

The  lower  and  upper  loops  are  glazed  in  yellow  and  green;  the  central  network,  in 
lavender  and  mahogany-red. 

The  upper  rim  is  bordered  by  “scepter  heads”  in  red  and  gold  on  a white  ground, 
which  is  carried  to  the  flange  of  neck,  and  connects  at  the  shoulder  with  a narrow  bro- 
caded band  in  green,  a similar  band  finishing  the  base. 

The  interior  is  bordered  at  the  top  with  red  flowers  and  stems  on  a green  ground. 

The  chain  is  in  red  with  light  gold  tracery,  and  the  cross-bar  is  embellished  with  a 
floral  design  on  green  glazed  ground. 

Under  foot  is  glazed  in  green  and  bears  reticulated  circular  ornament  in  red. 

Era  of  K’ang-hsl  (1662-1  722). 

Height,  6 '4  inches  without  chain. 

Diameter,  4 V4  inches. 


[53] 


A CATALOGUE  OF 


No.  41 


Reticulated  Hanging  Flower-Vase,  hard  white  (“Ts’ing”)  porcelain, 
made  to  resemble  netted  cords  and  open  passementerie  work. 

The  vase  is  glazed  amber-yellow  and  striped  in  black;  the  several  bordered  surfaces 
form  a framing  and  sustain  an  interior  cylindrical  vessel,  which  at  the  top  is  richly  deco- 
rated with  a brocaded  band  involving  blossoms  on  a green  stippled  ground. 

The  exterior  rim  displays  a floral  brocaded  design  with  green  ground ; and,  below,  a 
red  “herring-bone ’’-fret  encircles  the  shoulder;  another  small  border  in  red  fungiform 
tracery  finishes  the  base. 

The  porcelain  chains  and  cross-bar  are  decorated  to  imitate  gold-inlaid  bronze. 

The  foot  is  glazed  in  greenish-white  and  contains  a pierced  diamond  in  a circle. 

Attributed  to  K’ang-hsi  (1662—1722). 

Height,  6 V2  inches  to  top  of  ring-holders. 

Diameter,  4 inches. 


[54] 


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CHINESE  PORCELAINS 


No.  42 


Tall  Jar  (“rouge  d’or”),  oviform,  and  of  brilliant-white  porcelain. 

The  jar  is  painted  in  nch  colors  of  the  “famille  rose”  variety,  with  the  ground  enameled 
in  a rare  and  beautiful  shade  of  carmine  souffle,  of  velvety  texture;  studded  with  chrys- 
anthemum blossoms  in  various  half-tone  and  opaque  enamels,  also  interrupted  by  large 
white  reserved  panels  and  medallions  of  varied  shape  (including  double  circles,  fan,  and 
scroll  outlines),  which  are  dispersed  over  the  body  and  separately  decorated  with  floral 
subjects — /.e., peach  blossoms, peonies, the  “hand  of  Buddha”,^ and  other  sprays  of  flowers 
or  branches  with  blossoms. 

The  shoulder  and  the  base-line  are  embellished  with  brocaded  borders  in  green  and 
blue,  in  contrasting  half-tones,  interrupted  by  small  white  vignettes  that  inclose  sprigs  of 
flowers. 

The  foot  is  white  and  without  mark. 

Era  ofYung-cheng  (1723  — 1735). 

Height,  1 3 inches  without  cover. 

Diameter,  1 0 inches. 

■ ^The  “hand  of  Buddha”  (“Fo-show”)  is  a “hand  of  Fo”  or  “Buddha”).  The  fruit  is  made 
peculiar  kind  of  citrus  fruit  cultivated  to  terminate  to  run  into  rind,  the  odor  of  which  is  powerful  and 
in  long,  narrow  points  like  fingers  (hence  called  pleasant. 


[55] 


A CATALOGUE  OF 


No.  43 


Grand  Jar  (“rouge  d’or”),  of  fine  oviform  contour  and  brilliant-white 
porcelain. 

Decorated  in  half-toned  enamel  colors  typical  of  the  “famille  rose”  palette,  and  sus- 
taining a beautiful  shade  of  rose  souffle,  interrupted  by  various  panels  in  white  reserve, 
including  two  large  pictorial  scrolls  that  alternate  with  two  leaf-shaped  panels  having 
pointed  foliations;  the  first  panel  depicts  a large  terrace  occupied  by  a lady,  in  court 
attire,  who  is  seated  holding  a fan,  accompanied  by  several  children.  One  of  the  boys 
is  amusing  himself  with  a large  fish-bowl  on  a stand,  while  another  boy  is  talking  to  a 
parrot.  The  terrace  also  holds  a jardiniere  with  a lotus  plant ; a palm,  and  a cherry 
tree  with  blossoms,  are  shown  beyond  the  railing. 

The  reverse  panel  is  similar,  and  contains  also  a garden  and  terrace  subject  with 
figures. 

Another  smaller  panel  represents  the  form  of  a citrus  fruit,  or  “hand  of  Buddha,” 
on  which  a retired  mandarin  (T’ao-ming^)  is  depicted,  among  flowers,  in  complete 
emancipation  from  care.  Epicureanism  is  also  suggested  by  an  attendant  boy  offering  a 
duck. 

Other  silhouetted  panels  show  two  worthies,  or  sages,  with  wine-pots : members  of 
a famous  coterie  of  learned  men  in  the  third  century  A.D.,  according  to  Thornton  (“  His- 
tory of  China”).  They,  among  other  things,  pretended  that  human  happiness  consisted 
in  complete  freedom  from  all  cares  and  in  unrestrained  indulgence  in  wine,  and  disre- 
garded all  ceremonies  and  laws. 

Other  leaf-shaped  medallions  contain  landscape,  bird,  and  floral  subjects  minutely 

^T’ao-ming, great-grandson  of  a famous  Chinese  A.D.  420,  he  adopted  the  name  of  “Sage  of 
statesman  named  T’ao-k’an,  was  noted  no  less  as  the  Five  Willows,”  in  allusion  to  the  trees  which 
a scholar  and  poet  than  for  his  devotion  to  the  he  had  planted  near  his  house,  and  ended  his 
wine-cup.  He  received  an  appointment  as  mag-  days  drinking,  playing  upon  the  lute,  and  making 
istrate,  but  eighty  days  afterward  chose  to  resign  verses  amid  the  chrysanthemums  that  embellished 
his  seals  in  preference  to  “bending  the  back”  on  the  garden  of  his  retreat.  He  died  at  the  age  of 
the  arrival  of  a superior  functionary,  for  the  sake  62,  A.D.  427.  (Mayer’s  Manual.) 
of  five  measures  of  rice.  Retiring  into  private  life 

[56] 


lo'b-aguoH  bneiO 
(gnarlo-snuY) 


No.  43 

Grand  Jar,  Rouge-d  or 
(Y  ung-cheng) 


r 


CHINESE  PORCELAINS 


depicted  in  various  colors;  interspersed,  and  around  these  medallions  on  the  rose-colored 
ground,  are  flying  storks  in  “white-slip”  decoration. 

The  low  bell-shaped  cover,  surmounted  by  a grotesque  “dog  Fo,”  is  modern,  and  deco- 
rated with  leaf-shaped  panels  inclosing  floral  subjects  corresponding  to  those  on  the  jar. 

This  large  jar  shows  the  characteristic  crimson  derived  from  gold,  v^th  other  half- 
toned  enamels  invented  under  Yung-cheng  (1  723-1 735). 

Height,  37  inches  with  cover. 

Diameter,  1 8 V 2 inches. 


A CATALOGUE  OF 


No.  44 


Grand  Decorated  Vase  (one  of  a pair),  large  graceful  oviform,  with  short 
neck  and  cover. 


Massive  porcelain  of  fine  white  texture,  the  “over-glaze”  painting  in  the  sumptuous 
“famille  rose”  palette,  presenting,  with  great  decorative  skill,  a radiant  landscape,  together 
with  a scene  of  court  life  that  doubtless  is  an  adaptation  from  some  master  of  the  Sung 
or  the  Yiien  dynasty,  changed  only  in  its  color-tints  in  accordance  with  such  enticing 
enamels  as  were  employed  by  the  ceramists  of  the  Yung-cheng  period,  when  everything 
was  made  “couleur  de  rose.” 

The  central  motive  displays  a summer  pavilion,  raised  on  piles  over  a lotus-pond,  and 
occupied  by  an  emperor  (possibly  Yii  the  Great  enjopng  life  and  the  beautiful  scene 
about  him  after  his  labors  to  subdue  the  great  floods  in  China  that  existed  before  his  reign. 

The  potentate  is  seated  and  robed  in  gold;  he  is  holding  a closed  fan  and  examining 
the  work  on  another,  held  for  his  inspection  by  a young  lady,  while  two  attendants 
with  tall  fans  stand  behind;  another,  to  the  left,  bears  a wine-pot  on  a tray;  to  the  right, 
a “scholar”  is  approaching  from  the  steps,  awciiting  his  presentation,  through  a young 
courtier  standing  near,  and  who  also  holds  a scholar’s  emblem. 

The  pavilion,  with  its  rich  blue-tinted  roof  supported  by  yellow  columns,  is  also  fin- 
ished with  a rich  railing,  upon  which  lotus-flower  ornaments  are  suspended ; and  a crimson 
valance  with  a yellow  border  hangs  from  the  red  cornice,  completing  the  accessories. 

The  surrounding  scene,  with  its  gaily  dressed  young  people  of  the  court  enjoying  their 
boating  among  the  flowering  lotus,  presents  a most  pleasing  picture  of  animation  and 
brilliant  coloring.  The  composition  is  sustained  by  large-flowering  peonies,  of  gorgeous 
tints,  growing  near  silicic  rocky  masses,  and  by  a stone-arched  bridge,  that  connects 
with  the  summer  pavilion.  Underneath  are  seen  the  boats  lazily  drifting  along  the  wind- 
ing lotus-pond. 


^ Y ii  the  Great  was  the  successor  of  the  Em- 
peror Shun,  and  reputed  descendant  of  the  Em- 
peror Hwang  Ti.  He  commenced  to  reign  2205 
B.C.  His  great  work  was  controlling  the  waters 


of  the  flood  that  covered  the  territories  of  the 
empire,  a task  to  which  he  devoted  nine  years, 
without  care  for  food  or  raiment.  (Mayer’s 
Manual.) 


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CHINESE  PORCELAINS 


The  picture  subject  is  inclosed  at  the  shoulder  by  a broad  border  in  brocaded  design 
(involving  the  lotus),  with  an  elaborate  scallop-pointed  edging  that  overlaps  the  white 
ground  of  the  landscape  below.  This  border  is  followed  by  another  immediately  above, 
with  a crimson  honeycomb-fret,  including  white  reserve  medallions  and  emblematic  attri- 
butes; above  this,  the  neck  displays  fragments  of  terraces,  flowers  and  herbage,  amid 
rocky  peaks,  on  a white  ground ; this  same  motive,  with  its  horizontal  line  indicating  a 
flooded  country,  is  also  shown  on  the  base,  over  which  is  a band  of  lotus  palmation,  that 
also  overlaps  the  landscape  subject  on  the  body. 

The  cover  is  bell-shaped  and  topped  by  a large  knob  wnth  a lotus  flower,  and  sus- 
tains a subject  similar  to  that  on  the  vase — i.e.,  court  ladies  in  boats  among  the  lotus; 
the  flanged  rim  is  bordered  with  a diaper  design  involving  four  white  medallions  with 
emblems. 

Era  of  the  Emperor  Yung-cheng  (1  723-1  735). 

Height,  33  inches. 

Diameter,  1 9 ' '2  inches. 


A CATALOGUE  OF 


No.  45 

Grand  Decorated  Vase  (one  of  a pair),  large  graceful  oviform,  with  short 
neck  and  cover:  massive  porcelain  of  fine  white  texture. 

The  painting  is  in  the  magnificent  palette  of  “famille  rose,”  and  is  distributed  with 
great  decorative  skill  over  the  entire  surface,  displaying  a radiant  landscape  in  combina- 
tion with  court  life. 

The  central  motive  depicted  includes  an  Imperial  summer  pavilion,  with  an  emperor 
(as  in  the  other  vase)  seated  and  surrounded  by  personages  of  the  court.  The  picture 
shows  attendants  bearing  trays  with  objects  of  tribute  or  for  presentation;  two  scholars 
are  seen  to  the  left  of  the  Emperor,  and  probably  await  the  bestowing  of  gifts,  while 
the  Emperor  continues  his  interrupted  conversation  with  the  young  lady  of  his  court. 

The  columns  of  the  pavilion  are  glazed  in  yellow,  supporting  a crimson  comice  that 
is  also  decorated  with  a yellow  border,  and  a rich  roof  (like  a pagoda),  with  curling  eaves, 
glazed  in  blue  to  represent  porcelain;  a crimson  valance  is  also  suspended  from  the 
cornice,  which,  together  with  a rich  railing  involving  lotus-flowered  ornaments,  completes 
the  accessories. 

The  surrounding  landscape  is  an  imposing  garden  with  gaily  dressed  young  court 
people,  enjoying  boating  among  the  flowering  lotus,  and  presents  a pleasing  picture  of 
animation  and  brilliant  coloring.  The  composition  is  sustained  by  gorgeous  flowering 
peonies  growing  near  silicic  rocky  masses,  and  by  a stone-arched  bridge  that  connects 
with  the  pavilion,  and  underneath  which  boats  are  lazily  drifting. 

The  pictorial  scene  is  inclosed  at  the  shoulder  by  a broad  brocaded  border  with  scallop- 
pointed  edging  in  deep  rose,  involving  the  lotus  flower;  this  border  is  followed  by  another 
immediately  above,  in  a crimson  honeycombed  fret,  with  white  reserved  medallions  in- 
closing emblematic  attributes. 

The  neck  displays  a white  ground  with  fragments  of  terraces,  including  flowers  and 
herbage  amid  rocky  peaks,  all  showing  above  a horizon-line  at  shoulder.  The  same 
motive,  on  a white  ground,  is  also  shown  below  on  the  base,  over  which  a blue  band 
of  lotus  palmation,  with  a crimson  outline,  overlaps  the  scene  above. 

[60] 


CHINESE  PORCELAINS 

The  bell-shaped  cover,  topped  by  large  knob  bearing  a lotus  blossom,  sustains  a similar 
subject  with  court  ladies  in  boats  among  lotus  flowers,  and  is  bordered,  on  the  flanged 
rim,  with  a diaper  design  involving  four  white  medallions  with  emblems. 

Height,  35  inches. 

Diameter,  19'/2  inches. 

Era  of  the  Emperor  Yung-cheng  (1 723-1 735). 


[61] 


A CATALOGUE  OF  CHINESE  PORCELAINS 


No.  46 

Seven-bordered  Egg-shell  Plate,  so-called  “rose  back”:  le.,  a light  and 
solid  rose  souffle  (“rouge  d or”)  enameling  on  the  outer  band,  and  its 
face  richly  painted  in  soft-toned  colors  of  the  “famille  rose”  variety  and 
Yung-cheng  palette. 

The  decoration  consists  of  so  many  borders,  in  varying  widths  and  forms,  minutely 
drawn,  and  framing  the  central  picture-panel,  that  is  in  the  shape  of  a foliated  leaf,  and 
presents  a lady  of  high  rank,  in  rich  attire,  who  is  seated ; near  her  are  two  small  children 
whom  she  is  watching  or  directing  in  their  amusement:  one  holds  a lotus  flower  (a  favorite 
Chinese  symbol,  which  also  indicates  the  season  to  be  summer),  and  the  other  boy  carries 
a gilt  toy  (“  Ju-i”),  wand  or  scepter.  The  various  accessories  are  rendered  in  delicate  and 
accurate  details,  on  a white  ground  that  reveals  a most  beautiful  quality  of  porceleun,  and 
includes  two  large  jars,  a table  with  scrolls,  books,  and  other  objects,  notably  a small  vase 
with  varied  articles  used  by  a Taoist  student,  while  a second  vase,  holding  a coral  stick 
and  two  peacock  feathers,  indicates  that  the  family  belongs  to  an  official  class,  having  a 
“three-grade  promotion”  at  one  time,  bestowable  by  the  Emperor. 

The  seven  borders  include,  first:  the  green  arabesque  motive  with  five  rose-colored  blos- 
soms on  a gold  ground,  directly  surrounding  the  center  panel ; this  border  is  followed  by 
a narrow  band  having  a diamond  fret  in  pale  green ; then  a broader  border  with  conven- 
tionalized dragon  scrolls  in  two  shades  of  rose,  interrupted  by  four  blue-ground  vignettes 
with  lighter  blue  arabesques;  the  fourth  border,  in  a yellow  scroll,  finishing  the  top  edge  of 
slope,  is  followed  by  a foliated  border  filled  in  with  a delicate  “Y ’’-shaped  fret  in  green; 
this  band,  with  its  scallops  and  gilded  edge,  overlaps  the  honeycomb  reticulation  on  a lilac 
ground,  that  is  also  studded  with  four  round  archaic  scrolls,  alternated  by  four  white  re- 
served medallions  containing  flowers  in  natural  colors  minutely  depicted,  notably  the  peony, 
chrysanthemum,  and  aster,  edged  with  a small  “T ’’-pattern  band. 

The  seventh  and  last  border  (from  the  inside)  bears  a conventional  Chinese  arabesque 
in  gold,  and  finishes  the  rim,  or  outer  edge,  of  this  remarkable  plate. 

Ascribable  to  the  period  of  Yung-cheng  (1723-1  735),  when  the  carmine,  or  rose- 
color  (derived  from  the  chloride  of  gold),  and  the  half-tone  glazes,  were  first  invented. 

Diameter,  8'/i6  inches. 

Height,  i Vs  inches. 

[62] 


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CABINET  OBJECTS 


A SERIES  of  cabinet  objects,  enameled  in  “three  colors,”  of  Ming  and 
early  K’ang-hsi  (“Ch’ing”)  porcelain,  showing  unglazed  portions  of  the 
biscuit,  or  a paste  with  less  kaolin,  and  characteristic  of  the  early  periods 
under  which  they  were  produced. 

Included  also  are  so-called  tea-pots,  although  their  ancient  use  is  said 
to  have  been  for  serving  spiced  wines.  Of  these  objects  various  types  are 
represented  in  polychrome  decoration,  with  the  distinctive  early  “ famille 
verte”  glazes. 

The  decoration  is  executed  chiefly  in  unshaded  colors,  and  the  examples, 
especially  those  made  under  the  Emperor  K’ang-hsi,  show  much  refine- 
ment and  delicacy  in  the  handling  of  the  three  translucent  glazes — i.e., 
green,  yellow,  and  purple  (aubergine).  These  “three-colored”  pieces  are 
so  called  by  the  Chinese,  in  distinction  from  the  “five- ” and  “seven- 
colored”  classes.  Black  sometimes  figures  in  these  types,  being  used  to 
outline  the  designs  on  the  biscuit  before  the  other  glazes  are  employed. 


[63] 


A CATALOGUE  OF 


No.  47 

Tea-pot,  melon  form,  of  hard-paste  porcelain  simulating  curved  and  split 
bamboos;  the  spout  is  also  formed  like  a shoot  of  bamboo,  while  the 
handle,  in  imitation  of  ratan,  is  glazed  in  amber-yellow,  on  which  the 
black  rings  imitate  wickerwork. 

The  globular  body  is  painted  with  small  floral  decorations  of  various  kinds,  in  poly- 
chrome colors,  distributed  on  the  bamboo  sections  over  a white  ground,  in  an  alternate 
design,  and  a red-fret  band  inclosing  the  neck  and  base. 

The  cover  is  similarly  decorated  and  grooved,  and  finished  with  a scalloped  edge  and 
a penciled  border. 

The  foot  is  white. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  6V4  inches. 

Diameter,  4 inches. 


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CHINESE  PORCELAINS 


No.  48 


Tall  Wine-pot  (its  ancient  use),  of  hexagonal  form,  decorated  “ sur  bis- 
cuit,” with  heavy  greenish-black  enamel  of  iridescent  quality. 

Each  side  sustains  raised  upright  panels  in  openwork,  with  bamboo  foliage  modeled 
in  relief,  simply  glazed  to  show  an  old-ivory  tint  over  the  biscuit,  in  contrast  to  the  bril- 
liant black  body-color,  that,  in  turn,  is  relieved  with  red  flowers  and  green  stems  painted 
on  the  shoulders. 

A bordering  of  red  and  white  palm  leaves  in  slight  relief  finishes  the  base;  while  the 
neck  is  invested  by  a brocaded  band  stippled  in  black,  and  showing  a fungiform  symbol 
on  a green  ground. 

The  handle  is  in  shape  of  a leaping  fish,  and  glazed  in  yellow;  the  curved  spout, 
starting  from  a rudimentary  turtle  head,  is  also  in  yellow,  together  with  light-tinted  man- 
ganese. 

The  lower  and  upper  margins  are  plain  and  thinly  glazed,  leaving  the  biscuit  tint. 

The  cover  also  is  pierced  with  a bamboo  and  foliage  motive,  and  glazed  in  yellow, 
green,  and  light  (manganese)  purple. 

The  foot  is  in  biscuit. 

Ascribable  to  early  K’ang-hsi,  but  its  form  partakes  of  the  Ming  type. 

Height,  6'/4  inches  with  cover. 

Diameter,  4 inches. 


[65] 


A CATALOGUE  OF 


No.  49 

Ming  Spice-bowl,  low  oviform,  with  handle  and  cover,  decorated  over 
hard  biscuit  paste,  in  early  “famille  verte”  colored  glazes. 

The  outer  and  superposed  casing,  with  vertical  divisions  and  braided  cord  bands,  sus- 
tains a pierced  diaper  design,  involving  a slightly  raised  flower,  with  twigs  in  the  six 
divisions,  glazed  in  red,  yellow,  and  light  (manganese)  purple. 

The  neck  is  encircled  by  a red  wave  motive,  penciled  in  outline  against  a vermicu- 
lated  ground.  A red  and  white  tracery  border  surrounds  the  base. 

The  rounded  handle  is  glazed  in  amber-color,  and  finished  with  black  rings  to  repre- 
sent tied  wickerwork. 

The  cover  also  sustains  a yellow  glazed  piercing  in  fret  design,  with  green  foliage  and 
red  blossoms,  and  is  finished  on  the  edge  with  a red  border,  at  the  top  by  a small  “dog 
Fo.” 

The  under  foot  is  white. 

The  porcelain  and  enamel  colors  are  ascribable  to  late  Ming. 

Height,  4 ^,  4 inches. 

Diameter,  4*  4 inches. 


[66] 


CHINESE  PORCELAINS 


No.  50 

Tall  Wine-pot,  of  hexagonal  form,  decorated  “sur  biscuit”  in  the  early 
“famille  verte”  style,  including  a heavy  greenish-black  enamel  body- 
color  of  brilliant  quality. 

Each  of  the  six  sides  contains  a raised  upright  panel  with  pierced  and  finely  modeled 
lotus  flowers,  glazed  in  transparent  ivory  and  green  tints. 

The  shoulders  sustain  a lotus  brocaded  band  of  light-green  ground,  with  red  and  light- 
purple  flowering,  and  the  neck  is  also  inclosed  by  a light-green  brocaded  band,  with  a 
separate  fungiform  symbol  on  each  side. 

The  base  is  finished  by  a series  of  red  and  white  palm  leaves,  and  includes  a narrow 
border  in  red  tracery  at  the  foot. 

The  handle  partakes  the  curved  form  of  a leaping  fish,  and  is  glazed  in  amber-color, 
with  red  fins;  the  curved  spout  springs  from  the  mouth  of  a turtle  in  rudimentary  form, 
and  is  also  glazed  in  amber-yellow. 

The  cover  is  pierced  with  a lotus  design,  modeled  and  picked  out  in  glaze  to  match 
the  pot. 

The  foot  is  biscuit  and  without  mark. 

Ascribed  to  early  K’ang-hsi,  the  form  represents  an  early  Ming  type. 

Height,  6'/4  inches. 

Diameter,  4 inches. 


[67] 


A CATALOGUE  OF 


No.  51 

Tea-pot  (called  also  wine-pot),  early  “famille  verte”  porcelain. 

Cylindrically  formed  in  imitation  of  bamboo  staves  joined  together,  with  handle  and 
spout  curved;  the  grooved  divisions  formed  between  the  bamboo  rings  are  decorated  in 
polychrome  colors  with  small  floral  sprays  alternating  with  roosters  on  a white  glazed 
ground,  a dotted  border  inclosing  the  upper  edge  and  the  base. 

The  flat  cover  with  scalloped  edge  partakes  the  form  of  the  split  bamboo  outline  of 
the  body,  has  a small  raised  bamboo  branch  as  knob,  and  is  decorated  to  match  the 
tea-pot. 

Foot,  with  biscuit  edge,  bears  a blue  hall-mark  of  “ Praise.” 

K’ang-hsi  (1662-1722). 

Height,  4 inches. 

Diameter,  3 '/a  inches. 


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CHINESE  PORCELAINS 


No.  52 

Tea-pot  (called  also  wine-pot),  of  hard-paste  porcelain  in  early  “famille 
verte.” 

Cylindrically  formed,  and  in  imitation  of  split  bamboo  joined  together,  with  the  handle 
and  spout  curved. 

The  ring-like  divisions  of  the  bamboo  are  picked  out  with  small  floral  decorations  on 
the  various  tinted  grounds,  including  pale  green,  light  lavender,  and  amber-yellow. 

Its  cover  partakes  the  scalloped  outline  of  the  pot,  and  is  tipped  with  a bamboo 
twig  for  handle,  and  also  painted  with  bamboo  foliage,  all  emblematic  and  symbolical 
of  longevity. 

Ivory-tinted  glaze  at  the  foot,  with  biscuit  rim. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  3%  inches. 

Diameter,  3 ’ ^ inches. 


[69] 


A CATALOGUE  OF 


No.  53 


Tea-pot  (called  also  wine-pot,  from  its  ancient  use),  early  “famille  verte” 
porcelain,  hexagonal  shape,  the  six  sides  sustaining  slightly  raised  and 
pierced  panels  on  which  the  lotus  flower,  with  its  foliage,  is  represented 
in  brilliant  colors,  including  a pale-green  body-color. 

The  sides  are  inclosed  by  a bamboo  framing,  which  connects  with  the  square  bam- 
boo handle  and  curved  spout,  all  uniformly  glazed  in  a pale  violet;  the  upper  surface, 
over  shoulder,  is  invested  with  a small  diaper  decoration  in  green;  the  attenuated  neck 
is  fitted  vsnth  a small  pierced  and  decorated  cover,  tipped  by  a small  red  button  harmo- 
nizing with  the  sides,  and  bordered  in  green  with  hatching. 

The  foot  is  glazed  in  an  ivory-toned  glaze. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  6V2  inches  including  handle. 

Diameter,  4 inches. 


CHINESE  PORCELAINS 


No.  54 


Pair  of  Small  Vases,  with  porcelain  stands  and  covers,  quatrefoil  form 
and  vertical  grooved  lines,  decorated  “sur  biscuit.” 

The  body  ot  these  vases  with  the  covers  and  stands  have  a uniform  design,  carried 
out  in  “three-color”  enamels,  which  prevailed  during  the  dynasty  of  the  Ming,  under 
the  Emperor  Ch’^ng-hua. 

The  features  are  four  foliated  panels  displaying  the  tiger-lily,  or  lotus  flower,  con- 
ventionalized, and  glazed  in  yellow,  green,  and  aubergine  (manganese  purple),  bordered 
in  multifoil  form,  and  imposed  upon  a finely  penciled  diaper  ground  flowered  in  green 
and  yellow,  interrupted  at  the  base  by  a band  of  palmation,  in  the  same  colors,  includ- 
ing aubergine.  A small  band  of  lotus  petals,  in  opposite  directions  and  divided  by  a 
narrow  band,  encircle  the  neck  and  shoulder. 

The  low  octagonal  covers  have  lotus  petals,  with  knob  top,  and  the  base  is  deco- 
rated with  a fret  band  and  blossoms.  The  stands  are  decorated  to  match  the  vases, 
and  also  show  the  biscuit  paste  unglazed. 

Attributed  to  the  dynasty  of  Ming. 

Height,  IOV2  inches. 

Diameter,  3'/2  inches. 


1711 


A CATALOGUE  OF 


No.  55 

Hexagonal  Case  (Butterfly  or  Cricket  Cage),  with  perforated  cover  and 
slightly  raised  base  or  tray. 

The  six  sides  of  cover  show  two  small  oblong  piercings,  and  a square  reticulated 
ornamentation  involving  the  “swastika”  symbol,  an  ancient  mystic  diagram  and  an  alle- 
gory of  the  blessing  of  long  life. 

The  top  of  cover  has  a perforated  geometrical  foliation  within  a circle,  and  the  re- 
maining surface  and  sides  are  uniformly  decorated  with  a finely  penciled  green  diaper 
with  red  flowering. 

The  base  also  contains  oblong  perforations,  which  divide  the  brocaded  border  deco- 
rations on  the  six  sides. 

The  interior  is  unglazed,  as  is  also  the  foot,  showing  the  biscuit  paste  to  be  white. 
Attributable  as  late  Ming  or  early  Ch’ing  porcelain. 

Height,  7^/4  inches  including  cover  and  base. 

Diameter  of  cover,  6'/4x6'/4  inches. 


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CHINESE  PORCELAINS 


No.  56 

Two  Small  Cups  (six-sided),  with  lotus-formed  panels  enameled  in  a 
greenish-black,  including  small  chrysanthemums  and  various  other 
flowers  in  blue  and  ivory-white. 

A yellow  and  white  palmation  border  surrounds  the  base,  and  the  interior  rim  is 
bordered  with  a red  vermiculated  band;  included  are  free  floral  plants  in  colors  on  a 
white  ground  below. 

The  small  foot  is  glazed  in  white,  without  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  2%  inches. 

Diameter,  3'/4  inches. 


173] 


A CATALOGUE  OF 


No.  57 


Ming  Head-rest,  oblong  with  slightly  concave  sides,  elaborately  deco- 
rated “sur  biscuit”  in  “three  colors,”  notably  yellow,  green,  and  au- 
bergine. 

The  design  suggests  two  brocaded  cloths  with  scalloped  edging,  on  which  appear 
two  phoenixes,  or  “ Fung-kwang”  (the  attributes  of  an  empress),  glazed  in  green  and 
aubergine  on  a flowered  yellow  tessellated  ground.  The  center  shows  a peony  in  au- 
bergine, and  the  other  flowers  are  in  ivory-white. 

The  alternating  sides  have  overlapping  brocaded  bordering,  showing  a fine  diaper 
pattern  in  yellow  and  green,  with  a central  rosette,  representing  a coin  (emblem  of 
riches);  and  to  the  right  and  left  are  medallions,  one  with  landscape  of  square  form, 
the  other,  leaf-shaped,  showing  allegorical  fruit  (peach)  in  a dish;  an  emblem  of  mar- 
riage. 

The  other  side  is  similar  in  its  decoration,  differing  only  in  the  two  panels,  one  being 
leaf-shaped  with  butterflies  (symbolical  of  felicity),  and  the  other  in  the  form  of  a fan, 
with  allegorical  gift  objects  (denoting  official  rank);  the  top  is  finished  with  a fret  bor- 
der at  either  end,  in  lavender,  green,  and  yellow. 

The  two  end  panels  are  sunken  and  show  yellow  ground  with  pomegranates  in  the 
four  corners,  alternated  with  the  symbol  swastika  (a  mystic  diagram),  edged  with  a 
yellow,  green,  and  lavender  (diamond-fret)  border. 

Dynasty  of  Ming,  probably  Ch’eng-hua  (1465-1487). 

Size,  14V8x4'/4x4V4  inches. 


[74] 


CHINESE  PORCELAINS 


No.  58 

Cabinet  Figure  (seated  statue)  of  KuanYU,  sometimes  called  Kuan-ti,  or 
“God  of  War,”  brilliantly  decorated  “sur  biscuit”  in  transparent  glazes. 

This  idol  is  a deified  hero  of  the  civil  wars  (third  century  A.D.).  Usually  with  a 
slightly  frowning  mien,  he  is  represented  here  with  dignified  features,  long  whiskers,  and 
mustaches  of  real  hair.  The  coat  of  mail  is  shown  in  biscuit  form  and  partly  visible  at 
the  chest,  under  a green  glazed  robe,  that  is  embellished  with  yellow  and  light-purple 
(manganese)  dragon  and  arabesques,  including  large  mask  on  the  front.  The  face,  hands, 
and  feet  are  reserved  in  biscuit  form. 

The  open  pedestal  is  partly  in  biscuit,  and  enameled  in  three  distinct  glazes  of  the 
early  “ famille  verte  ” colors ; a finely  executed  diaper  design  with  flowering  in  the  form 
of  brocaded  silk. 

Ascribed  to  a late  period  of  the  Mings. 

Height,  1 1 inches. 

Width,  5 inches. 

Depth,  3 inches. 


[75] 


A CATALOGUE  OF 


No.  59 

Small  Cabinet  Bottle,  of  globular  form,  with  long  slender  neck,  of  fine 
white  hard-textured  porcelain. 

Painted  in  colored  enanrels  similar  to  its  companion,  but  with  a . lighter  design  and 
smaller  foliage. 

The  motive  includes  conventionalized  convolvulus  flowers,  upon  delicate  wavy  vine- 
like stems  covered  with  small  leaves,  and  uniformly  distributed  in  red,  yellow,  green,  and 
blue  over  the  glaze,  in  varying  tints. 

The  shoulder  carries  a brocaded  border,  with  similar  detail,  on  a stippled  aubergine 
ground,  and  the  cylindrical  neck  is  encircled  with  a brocaded  fret  bordering  at  the 
upper  rim. 

The  foot  bears  a mark  like  that  on  its  companion  (No.  60). 

Ascribed  to  the  eighteenth  century. 

Height,  9Ve  inches. 

Diameter,  4%  inches. 


[76] 


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No.  60 


Small  Cabinet  Bottle,  of  globular  form,  with  a slender  cylindrical  neck, 

in  fine  white  hard-textured  porcelain,  and  painted  in  colored  enamels. 

The  design  carries  conventionalized  convolvulus  flowers  with  fine  scrolled  vines  and 
leaves ; all  are  carefully  rendered  and  uniformly  disposed  in  varying  tints  of  green,  yel- 
low, red,  and  blue  over  the  glaze. 

The  shoulder  carries  a brocaded  border,  with  similar  detail  and  flowers,  on  a stippled 
aubergine  ground,  and  the  long  neck  is  encircled  by  a brocaded  fret  bordering  at  the 
upper  rim. 

The  foot  bears  a mark  which  is  an  imitation  by  the  Chinese  of  old  delft  faience. 

Ascribed  to  the  eighteenth  century. 

Height,  9'  2 inches. 

Diameter,  4^/4  inches. 


A CATALOGUE  OF  CHINESE  PORCELAINS 


No.  61 

Cabinet  Jar,  ovoid  form,  with  its  own  bell-shaped  cover;  fine  white  hard- 
paste  porcelain,  decorated  in  subdued  enamel  glazes  of  early  “famille 
verte”  variety. 

The  body  sustains  a light-yellow  glazing  of  amber  tone,  over  which  a delicately 
penciled  green  arabesque  motive  is  uniformly  distributed ; the  free  design  consisting  of 
long,  curved  vine  stems  bearing  circular  convolvulus  blossoms  with  leaves  and  numerous 
twigs  in  conventionalized  style. 

The  shoulder  carries  a brilliant-red  floral  border,  showing  the  design  of  buds  and 
stems  in  white  reserve ; the  base  is  bordered  in  a blue  netted  fret  (under  the  glaze),  with 
a white  ground  that  is  inclosed  on  each  side  by  double  lines. 

The  foot  is  in  white  and  bears  a blue  double  ring  under  the  glaze. 

The  cover  is  similarly  decorated  in  green  on  a yellow  ground,  and  topped  by  a white 
knob  with  a red  chrysanthemum  embellishment. 

Produced  in  the  era  of  K’ang-hsi  (1662-1  722). 

Height,  1 0 V2  inches  with  cover. 

Diameter,  8 inches. 


[78] 


“FAMILLE  VERTE”  DECORATION 
OVER  THE  GLAZE 


PAINTED  WITH  FUSIBLE  COLORS,  AFTER  THE  GLAZING  HAS 
BEEN  APPLIED  TO  THE  WHITE  PASTE  AND  SUBJECTED  TO 
THE  PROPER  FIRING. 

The  group  of  tall  vases  described  and  illustrated  on  the  following  pages, 
with  decoration  upon  a white  foundation  in  transparent  enameling  over 
the  biscuit  paste,  form  a class  by  themselves,  are  so  recognized  in  China, 
where  they  have  always  held  a high  place  in  private  collections,  and  now 
rank  among  the  highly  prized  productions  of  Eastern  ceramics. 

Several  examples  are  characteristic  types  in  paste  and  colors  produced 
in  China  under  the  Mings;  others  date  from  the  end  of  that  dynasty,  or 
were  produced  in  the  reign  of  the  Emperor  K’ang-hsi,  when  such  products 
reached  a definite  character.  Their  distinctive  forms,  their  beauty,  and  the 
manner  in  which  the  enamels  are  employed  to  heighten  intensity  of  effect, 
combine  to  attest  their  provenance. 


[79] 


A CATALOGUE  OF 


No.  62 

Grand  Vase,  tall  and  graceful,  of  “balustre”  shape,  with  long  spreading 
neck:  “ famille  verte”  type  of  rare  quality,  and  of  brilliant  white 
porcelain,  elaborately  decorated  in  rich  translucent  enamels,  and  in  full 
colors  of  the  palette  of  its  period. 

The  design  includes  panels  of  diverse  forms  that  sustain  individual  subjects,  attrac- 
tively painted  on  the  white  glazed  body,  and  reserved  from  the  intricate  green-brocaded 
ground-color,  with  its  finely  penciled  (“honeycombed  ”)  diaper,  over  which  are  interspersed 
numerous  conventionalized  blossoms,  in  yellow,  red,  and  blue  opaque  enamels;  included 
are  also  various  Taoist  emblems,  shown  near  the  shoulder. 

The  largest  panels  are  alternately  upright  and  foliated,  the  former  beautifully  embellished 
with  two  separate  motives — i.e.,  landscape  scene,  and  a flowering  tree  with  its  blossoms 
delicately  rendered,  rooted  among  rocks,  and  also  enlivened  by  birds.  The  two  foliated 
panels  sustain,  separately,  a landscape  with  deer,  and  lotus  flowers  with  birds,  all  carefully 
painted  upon  the  white  glazed  ground  with  colors  showing  a peculiarly  delicate  luster. 

The  three  lower  panels  are  smaller  and  in  varying  outlines  of  a leaf,  displaying  alter- 
nately floral  and  bird  subjects,  a “dog  Fo,”  and  also  mountainous  landscape  with  a 
distant  and  barely  visible  pavilion. 

The  tubular  neck  is  surrounded  by  varied  leaf-shaped  panels,  including  fan  and  foli- 
ated forms,  that  sustain  separate  subjects;  notably  birds  and  flowers  with  landscape;  one 
panel  includes  the  fabled  grotesque  Ky-lin  (Ch’-lin),  emblematic  of  good  government. 

The  upper  rim  of  neck  is  finished  by  a diapered  band  of  “ flowered  honeycomb,”  in- 
terrupted by  white  vignette  panels  displaying  emblems ; the  shoulder  is  also  encircled  by 
a similar  broad  honeycomb  band,  divided  by  vignettes  in  white,  that  show  the  fabled 
and  grotesque  lion  or  “dog  Fo.” 

The  base  is  finished  by  a diaper  band  divided  by  four  white  vignettes,  inclosing 
symbolic  ornaments,  which,  together  vsnth  the  others  on  neck,  complete  the  set  of  “ Pa- 
pao,”  or  eight  “precious  things,”  distinguished  by  the  ribbons  entwined  with  each. 

|80] 


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No.  62 

Grand  Vase,  Seven-color  decoration 
(K’ang-hsi) 


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CHINESE  PORCELAINS 

These  tall  vases  are  sometimes  called  “Imperial”  or  “Palace  Vases,”  and  their 
decoration  in  “seven”  colors  is  always  refined,  and  of  great  artistic  excellence  in  details 
of  drawing. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  30  inches. 

Diameter,  1 1 V4  inches. 

From  the  Salting  Collection,  London. 


[81] 


A CATALOGUE  OF 


No.  63 

Cylindrical  Vase,  club-shaped,  with  rounded  shoulder  and  tubular  neck 
attenuated  and  slightly  flaring.  Fine-textured  hard  porcelain,  decorated 
in  the  “seven-color”  palette  of  K’ang-hsi,  “famille  verte”  type,  and 
of  brilliant  quality. 

The  boldly  drawn  mountain  landscape  and  figure  subject  is  carried  right  around  and 
helped  out  at  the  back  by  large  rocks  and  trees,  with  conventionalized  mist  and  clouds. 

The  motive  with  figures  is  centered  by  an  emperor,  presumably  Wu-ti  (Han  dynasty), 
seated  in  a richly  mounted  and  wheeled  palanquin,  accompanied  by  a retinue  of  at- 
tendants and  armed  body-guard ; in  the  distance,  an  approaching  army  is  suggested  by 
the  numerous  banners  and  standards  partly  visible,  among  the  defiles  of  a mountain  pass. 

The  subject  illustrates  an  interesting  and  famous  episode  in  Chinese  history  (108—101 
B.C.) ; the  mounted  warrior  is  Li  Kuang-li,  who  had  been  dispatched  two  years  previously, 
with  a large  following,  to  avenge  the  murdering  of  a former  expedition,  that  had  been  sent 
(also  by  this  Emperor)  to  a distant  domain,  ruled  by  T’a-yiian,  who  was  known  to  possess 
rare  blooded  horses  of  a Turkoman  strain,  that  were  secreted  in  one  of  his  provinces 
(Ir-schi).  This  first  mission,  heavily  loaded  with  presents,  and  including  a large  following, 
was  purposely  waylaid  on  approaching  its  destination  and  foully  murdered,  which  led  to 
a second  mission,  intrusted  to  Li  Kuang-li,  who,  as  general,  headed  an  army  for  this  pur- 
pose, but  returned,  as  shown  above,  without  accomplishing  anything  or  bringing  any  of 
the  famous  horses,  so  much  desired  by  his  Emperor.  On  this  account  the  Emperor,  who 
had  traveled  to  the  frontier  to  meet  Li  Kuang-li,  and  discovered  his  failure,  forbade  him 
or  any  of  his  troops  to  cross  the  border  on  pain  of  death. 

Subsequently  another  invasion  of  Ir-schi,  and  against  T’a-yiian,  was  ordered  by  this 
Emperor,  including  a large  army,  recruited  by  the  same  general,  composed  of  60,000 
men,  half  of  whom  were  killed  in  this  expedition,  conquering  T’a-yiian. 

Numerous  banners  are  visible,  but  three  bear  mystic  and  rather  enigmatical  devices : 
i.e.,  one  behind  the  Emperor’s  vehicle  displays  the  ancient  and  curious  combination  of 
mystic  points  called  “ Lo-chou,”  inspired  in  very  remote  times,  and  very  seldom  seen  on 
porcelain. 


[82] 


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CHINESE  PORCELAINS 


A second  banner  or  standard  is  in  green  with  purple  edging,  and  shows  part  of  the 
popular  “eight  trigrams”  known  as  “Pa-kwa,”  a mystic  symbol  often  seen  on  porcelain. 

Another  banner  bears  the  circular  symbol  “Yang  and  )dn,”  representing  the  active 
and  passive  principle  in  development. 

This  picture,  which  is  so  admirably  composed,  with  so  much  decorative  force,  is 
probably  an  adaptation  from  an  old  painting  of  remote  times,  and  is  here  perfectly  ren- 
dered in  harmonious  and  transparent  colors. 

The  shoulder  is  encircled  by  a three-color  motive,  involving  a fungus  plant  amid  waved 
lines;  and  the  white-glazed  body-color  of  the  neck  extends  to  the  upper  rim,  where  it 
is  finished  by  a green  fret  and  a line  of  dots,  and  below  displays  four  large  decorative 
characters,  “Shou”  and  “Fu”  alternately,  in  opaque  blue  enamel. 

The  base  is  slightly  curved  and  shows  a clean-cut  margin  in  white. 

The  underneath  foot  has  a blue  ring  under  glaze. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 8 inches. 

Diameter,  7 '/2  inches. 


183] 


A CATALOGUE  OF 


No.  64 


Tall  Cylindrical  Vase,  with  rounded  shoulder  and  attenuated  neck  (club 
shape),  of  fine  white  hard-textured  porcelain,  richly  decorated  over  the 
glaze,  in  “seven  colors”  of  the  “famille  verte”  variety,  of  rare  brilliancy, 
with  gilding. 


The  body  is  covered  with  a brocaded  design  on  a stippled  green  ground,  includ- 
ing scroll-formed  vines,  with  leaves,  and  aster  flowers,  in  brilliant  red  (of  iron);  this 
color  also  forms  a bordering  for  three  large  upright  panels,  which  are  reserved  in  white, 
and  separately  painted,  bearing  the  three  star  gods:  The  first  presents  Fu  Hsing,  “God 
of  Happiness,”  clad  in  green  -with  purple  trimming,  wearing  an  ancient  black  head- 
covering showing  a crest,  and  holding  a long  golden  tablet  in  one  hand,  with  the  other 
stroking  his  long  beard,  a boy  attendant  following,  carrying  a heavy  scroll.  The  back- 
ground includes  an  elaborate  railing,  and,  above,  a line  of  clouds  finishes  a dignified 
picture. 

The  second  panel  sustains  Lao  Tsze  (Shou-lao),  the  “God  of  Longevity,”  with  high 
bald  head  and  mobile  face,  leaning  on  a long  staff,  clad  in  Imperial  robes,  brocaded  with 
circular  longevity  symbols  of  “Shou”  and  “ Fu”;  a boy  attendant  is  bearing  a fabulous 
peach  (“  Fan-tao”),  the  attribute  of  this  deity. 

The  third  panel  holds  Lu  Hsing,  the  “God  of  Rank,”  richly  attired  in  brocaded 
robes  and  holding  a “Ju-i”  scepter,  in  red;  also  attended  by  a boy  who  is  reaching  for 
the  symbol  of  rank.  A bamboo  railing  forms  an  accessory,  and  completes  the  panel. 

The  shoulder  sustains  a rich  brocaded  diaper  bordering  interrupted  by  four  white 
foliated  medallions,  showing  Taoist  emblems;  the  white  margin-lines,  reserved  on  each 
side,  are  followed  by  a fungiform  or  lanceolate  bordering,  one  of  which  overlaps  the 
body,  and  the  other  is  at  the  edge  of  neck. 

The  tubular  neck  presents  a fine  white  paste  simply  embellished  by  three  characters, 
“Fu,”  “Lu,”  and  “Shou,”^  painted  in  green  and  yellow  enamel  colors  over  the  glaze, 
simulating  applique  brocaded  silk.  The  upper  part  of  neck  is  encircled  by  a green 

^ Fu,  happiness ; Lu,  official  rank ; Shou,  long  life;  Triad  of  the  Taoist  cult. 


[84] 


CHINESE  PORCELAINS 


diaper  border  followed  by  small  vermiculated  bands  in  a deep  coral-red,  and  the  rim 
bears  a small  key-pattern  fret. 

The  base  is  finished  by  a scalloped  and  dentate  border,  against  the  green  brocaded 
field  above. 

The  foot  is  of  line  white  texture,  without  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 8 inches. 

Diameter,  7 inches  at  shoulder. 


[85] 


A CATALOGUE  OF 


No.  65 


Tall  Cylindrica  Vase,  with  rounded  shoulder  and  attenuated  neck  (club 
shape),  of  fine  white  hard-textured  porcelain,  richly  decorated  over  the 
glaze  in  the  “famille  verte”  palette  of  “seven  colors.” 


The  body  of  vase  is  covered  with  a brilliant  brocaded  design,  including  coral-red 
lotus  flowers,  that  are  dispersed  over  the  transparent  and  stippled  green  ground,  together 
with  green  leaves;  dragons  in  light  green  and  opaque  blue  are  also  involved. 

Two  large  upright  panels  are  reserved  and  separately  embellished  with  rural  land- 
scapes: rice  and  silkworm  cultivation  and  figures. 

The  first  panel  shows  a group  of  ladies  at  a window,  with  an  awning  (disclosing  an 
interior  w th  racks  holding  silkworm  trays  that  are  referred  to  in  the  Poem  above) ; one 
of  these  ladies  holds  a basket.  Another  lady,  carrying  mulberry  plants,  is  approaching 
the  house  from  an  adjoining  veranda,  followed  by  an  attendant  carrying  a basket  full  of 
these  leaves  on  his  shoulder. 

The  foreground  shows  rocks  and  herbage  glazed  in  varying  tints  of  green;  a finely 
painted  tree  is  in  the  background,  close  to  the  house.  The  poem  and  motive  are  derived 
from  a publication  known  under  the  name  of  Kong-chi-t’u,  published,  under  the  Emperor 
K’ang-hsi’s  orders,  by  the  artist  Tsiau  Ping-chon.^ 

The  second  panel  represents  a watered  rice-field,  with  laborers  engaged  in  sticking 
bunches  of  rice  plants  into  the  watered  mud  near  a house;  a bridge,  and  other  accesso- 
ries of  trees,  rocks,  and  herbage,  are  all  carefully  and  minutely  rendered,  in  brilliant  and 
transparent  glazes  of  rare  clearness,  and  with  considerable  regard  to  perspective  values. 

A bordering  in  green  key-fret  frames  these  two  panels,  and  the  shoulder  embellish- 
ment begins  with  a small  dentate  border,  leaving  a white  margin  inclosed  between  lines, 
and  a double  row  of  dots,  followed  by  carefully  rendered  coral-red  palmation,  and  by  a 
green  fret  at  the  junction  of  neck  and  shoulder. 


^ The  painter  Tsiau  Ping-chon  was  a native  of 
Tsi  -ning  in  Shan-tung,  and  occupied  the  position 
of  a director  in  the  Astronomical  Board  in  Pekin. 
As  an  artist  he  is  described  by  his  Chinese  biog- 
raphers as  follows:  “In  placing  his  figures  he  made 


the  near  and  the  far  correspond  to  the  large  and 
to  the  small  without  a mistake,  for  he  worked 
according  to  the  method  of  the  West.”  “An 
observation,”  writes  Professor  Hirth,  “ which 
seems  to  be  confirmed  by  his  work.” 


[86] 


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The  neck  sustains  a green  diapered  ground  in  purple  and  yellow  penciling,  interrupted 
by  four  white  reserved  panels,  that  are  separately  decorated;  the  two  larger  show  gift 
objects  (vases  and  censers),  and  two  fan-shaped  medallions  conteun  flowers.  The  rim 
is  bordered  by  a key-fret  in  green. 

Underneath  foot  in  white  and  without  mark. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 7 inches. 

Diameter,  7V2  inches. 


[87] 


A CATALOGUE  OF 


No.  66 

Cylindrical  Vase,  with  sloping  shoulder  and  attenuated  and  slightly  flar- 
ing neck  (commonly  known  as  club  shape),  of  fine  hard  white  porce- 
lain, decorated  in  typical  colors  of  the  “famille  verte”  variety,  with 
iridescent  qualities  and  much  brilliancy. 

The  elaborate  colored  motive  consists  of  a series  of  eleven  pictorial  subjects,  arranged 
in  tiers  and  displaying  Imperial  personages  and  groups  in  various  engagements,  most 
probably  a representation  of  historical  events,  with  landscape  and  interior  settings,  care- 
fully and  minutely  executed  upon  the  panels,  that  are  disposed  upon  a green  stippled 
ground,  that  is  enriched  by  a superposed  painting  of  storks  and  blossoms  in  varied  colors. 

T wo  of  the  landscape  panels,  representing  a mountainous  region  of  China,  are  upon  the 
neck,  which  is  finished  by  a “herring-bone”  band  at  the  rim  in  green,  and  a “scepter 
head”  or  fungiformed  border  in  yellow  and  green  enamel  surrounds  the  shoulder. 

The  white  foot  bears  a blue  ring  and  leaf-mark  under  the  glaze. 

The  ensemble,  its  paste,  quality  of  colors,  and  drawing,  clearly  indicate  the  K’ang-hsi 
period  (1662-1722). 

Height,  18  inches. 

Diameter,  7 inches. 


[88] 


CHINESE  PORCELAINS 


No.  67 

Cylindrical  Water-holder,  with  arched  rim  and  curved  spout  springing 
from  dragon’s  mouth,  the  decoration  “sur  biscuit”  in  the  three  colors 
prevailing  during  the  Ming  dynasty. 

A perfect  cylindrical  form,  divided  into  three  sections  by  raised  triple-corded  bands 
in  light  amber-colored  glaze  that,  hoop-like,  encircle  the  body. 

The  upper  band  and  the  next  lowest  have  two  affixed  grotesque  lion-masks,  with 
holes  (intended  for  a handle),  and  these  three  divisions  so  formed  are  uniformly  decorated, 
on  light  transparent  green  ground,  showing  finely  outlined  spiral  formations  in  black, 
that,  with  dashing  sprays  of  water,  suggest  a whirlwind;  various  symbolic  attributes, 
blossoms,  and  leaves  are  superposed  on  this  ground,  together  with  horses  that  are 
strongly  defined  in  aubergine  and  light-amber  glaze:  the  animals  are  doubtless  dnven 
into  action  by  the  turbulent  elements  suggested  in  the  design ; they  probably  represent  the 
legendary  steeds  of  the  Emperor  Muh-wang,  who  ascended  the  throne  1001  B.C,  (the 
legends  state  that  he  set  his  famous  horses  loose  after  many  and  long  journeys).  The 
expression  of  action,  marked  by  such  simplicity  in  drawing,  together  with  the  calli- 
graphic vitality  in  touch,  suggests  their  derivation  from  an  artist  (possibly  Chao  Meng- 
fu)  of  the  Sung  dynasty,  who  was  noted  for  the  painting  of  these  horses. 

The  shield-like  projection  on  the  top  is  decorated  on  the  outside  with  a separate 
motive  including  a bird  and  other  details  picked  out  in  yellow  and  aubergine  on  the 
green  ground. 

The  foot  is  in  biscuit  and  is  of  characteristic  quality. 

Era  of  Ch’eng-hua  (1465-1487),  Ming  dynasty. 

Height,  16  finches. 

Diameter,  5^1 2 inches. 


[89j 


A CATALOGUE  OF 


No.  68 

Tall  Rectangular  Vase,  massive  fine  white  porcelain,  with  small  raised 
openwork  medallions,  brilliantly  decorated  in  “seven  colors”  of  the 
“famille  verte”  palette. 

The  four  upright  panels  display  elaborate  “over-glaze”  painting,  which  effectively 
involves  red  lotus  blossoms,  on  a transparent  green  brocaded  ground  with  arabesques 
and  foliage,  in  combination  with  the  raised  openwork  medallions. 

Each  side  sustains  two  “a  jour”  medallions  slightly  raised;  of  these  the  lower  are  uni- 
formly square,  and  have  landscapes  with  the  fabled  “dog  Fo”  in  lustrous  glazes;  the 
upper  row  of  medallions  are  alternately  fan-shaped  and  round,  depicting  flowering  plants 
and  birds,  together  with  land  and  water  scenes,  all  carefully  executed  in  the  paste  and 
picked  out  with  bright-colored  enamels. 

The  sides  are  uniformly  inclosed  by  a narrow  green  and  black  border,  with  the  outer 
edges  showing  the  glazed  white  body-color.  The  decoration  on  the  incline  of  shoulder 
carries  the  brocaded  design  from  the  sides  into  a raised  “ scepter  head  ” or  fungus-like 
band  in  green  “ over-glaze,”  with  a white  reserved  outline. 

The  square  neck,  with  its  raised  band  of  green  palmation  upon  the  white  body, 
starts  from  a small  key-fret  in  red  glaze,  and  is  finished  at  the  top  by  a projecting  rim, 
showing  on  each  side  two  small  green  archaic  motives. 

The  base,  which  is  slightly  contracted  from  the  body,  carries  a small  diamond-shaped 
border,  and  the  lower  edge  is  finished  with  a small  scroll. 

The  under  foot  is  biscuit,  with  a glazed  sunken  panel. 

Its  period  is  seventeeth  century  (late  Ming  or  early  K’ang-hsi). 

Height,  1 8 V2  inches. 

Diameter,  6'/4  inches. 


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CHINESE  PORCELAINS 


No.  69 

Tall  Square  Vase,  with  figures  in  relief.  The  porcelain  is  of  fine  hard  texture 
and  massive,  decorated  in  brilliant  “famille  verte”  colors. 

The  vertical  sides,  tapering  from  the  shoulder  to  the  base,  present  a series  of  four  groups, 
modeled  in  high  relief  and  richly  glazed : The  first  includes  Lao  T sze,  the  ancient  philos- 
opher and  founder  of  Taoism,  with  lofty  brow  in  accordance  to  traditions,  accom- 
panied by  a boy  attendant  holding  a long  stem  or  a tablet;  and  a landscape  setting  in 
various  colored  glazes  against  a fine  white  ground. 

The  second  panel  holds  an  official  m court  attire  walking  in  a terraced  garden  with 
balustrade,  accompanied  by  a boy  bearing  a long  stem  with  a lotus  flower  (an  emblem 
of  fruitfulness).  A high  rocky  cliff  is  in  the  background,  and,  above,  an  inscribed  poem 
finishes  the  panel. 

The  third  panel  presents  an  official  bearing  the  “ Ju-i  ” wand  (of  official  rank),  accom^ 
panied  by  a boy  carrying  a presentation  vase.  A large  growing  palm  tree  is  shown,  in- 
dicating retirement  and  freedom  from  the  turmoil  of  life. 

The  fourth  panel  presents  a warrior  with  bow,  and  also  a boy,  who  holds  an  arrow 
with  a lancet  point  (an  ornament  or  symbol),  possibly  being  instructed  in  archery;  an 
inscription  also  adorns  this  panel. 

The  square  attenuated  neck,  flaring  into  a broad  rim  at  the  top,  decorated  with  a fret 
in  green,  has  raised  gift  vases  below  separately  picked  out  in  transparent  colored  glazes. 

The  bevel  shoulder  panels  are  in  rich  brocaded  design,  showing  red  blossoms  and  green 
foliage  on  a light-green  ground ; a similar  brocaded  pattern  fills  the  panels  on  the  con- 
tracted base,  which  spreads  outward. 

The  foot  underneath  is  biscuit. 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 8 inches. 

Diameter,  6*  4 inches  at  foot. 


[91] 


A CATALOGUE  OF 


No.  70 


Tall  Square  Vase,  of  dense  heavy  porcelain,  v^ith  “ famille  verte  ” decora- 
tion: made  to  hold  arrows.  This  specimen  is  mounted  on  a Louis  XVI 
bronze  stand  to  replace  its  original  porcelain  pedestal. 

The  four  quadrangular  sides  of  the  vase  are  alternately  embellished  with  raised  and 
openwork  ornamentation  in  separate  divisions,  and  with  painting  in  polychrome  enamel 
colors  of  the  early  K’ang-hsi  period. 

A broad  horizontal  band  with  a pale  amber-colored  ground  in  “over-glaze”  decora- 
tions surrounds  the  middle  of  this  vase,  showing  a “four-clawed”  dragon-like  serpent 
(Mang),  alternately  in  green  and  red,  surrounded  by  arabesque  foliage  in  green  and  lotus 
blossoms  in  red  and  manganese  purple  (aubergine) ; this  band  divides  each  side  into  three 
distinct  sections:  The  upper,  with  a white-glazed  ground,  sustains  two  separate  adorn- 
ments— i.e.,  two  raised  medallions  with  blossoms  and  foliage  in  bold  relief,  and  a rich 
flower  and  fruit  decoration  in  brilliant  colors;  the  alternating  motive  being  (two)  raised 
circular  “Longevity”  characters  (“Shou”)  in  openwork  and  gilding. 

The  lower  division,  with  its  white  ground,  contains  a circular  decorated  medallion  on 
each  side,  displaying  a rampant  dragon  pursuing  the  “precious  gems,”  or  pearls,  amid 
conventional  cloud  and  flame  symbols;  two  of  these  dragons  are  green,  alternating  with 
one  in  aubergine  and  one  in  red. 

Two  narrow  and  raised  key-fret  borders  in  green  and  purple  (aubergine),  together 
with  a third  band  showing  a floral  decoration  on  a stippled  ground,  finish  and  emphasize 
the  middle  and  upper  divisions. 

The  white  body-glaze  is  slightly  tinged  with  a delicate  and  barely  visible  cdladon 
shade. 

Early  K’ang-hsi  (1662-1722). 

Height,  1 8 Ve  inches. 

Body,  4 inches  square. 


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No.  71  No.  72 

Pair  of  Tall  Cylindrical  Vases,  Seven-color  decoration 
(K’ang-hsi) 


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! 


CHINESE  PORCELAINS 


No.  71 

Tall  Cylindrical  Vase  (so-called  club  shape),  with  sloping  shoulders  and 
attenuated  neck,  flaring  slightly  toward  the  upper  rim.  White  hard- 
texture  porcelain  of  fine  quality. 

The  embellishment  presents  a warrior  subject,  including  a rocky  landscape  and  de- 
tached cliff-like  formations,  in  relief  and  carefully  picked  out  in  brilliant  colors  of  the 
“ famille  verte  ” variety  with  gilding,  upon  a uniformly  white  glazed  ground. 

The  central  figure  (crossing  a bridge)  represents  a burly  truculent  giant  (probably 
Kuan  Yii  or  Chung-kwei)  clad  in  official  garb.  Other  mounted  warriors  are  approach- 
ing with  different  ancient  arms,  including  spears,  swords,  leaded  balls  and  loops.^ 

In  the  distance  a group  of  three  persons  includes  an  emperor,  or  commander  of  high 
rank,  attended  by  his  standard-bearer  displaying  the  character  “ Ling  ” (commanding 
officer),  and  a dragon  displayed  amid  the  conventional  clouds  completes  a strikingly 
vigorous  motive. 

The  shoulder  is  decorated  with  a brocaded  arabesque  design  in  red,  involving  chrys- 
anthemums and  four  white  reserve  medallions  that  show  a separate  treatment  of  flowers 
and  fruit  in  several  colors,  and  a small  green  scalloping  finishes  the  outer  edge. 

The  neck  is  encircled  near  the  shoulder  by  a green  and  black  fret  band,  and  two 
small  scalloped  borders  form  a center  division  that  sustains  a red  and  gold  dragon  amid 
clouds  and  flames  in  low  relief. 

The  upper  rim  is  bordered  by  a fret  design  penciled  in  red,  and  the  foot  is  finished  by 
an  involuted  band  of  spear-heads. 

Produced  in  the  eighteenth  century  (probably  toward  the  end  of  the  reign  of  K’ang- 
hsi). 

Height,  29  inches. 

Diameter,  8 inches. 


^ An  ancient  weapon  of  iron  or  lead  attached  to  a line,  which  is  thrown  at  an  opponent. 
The  feat  is  to  throw  the  ball  very  swiftly  from  side  to  side  to  its  full  extent. 


A CATALOGUE  OF 


No.  72 

Tall  Cylindrical  Vase  (companion  to  No.  7 1 ),  with  sloping  shoulders  and 
attenuated  neck,  flaring  slightly  toward  the  upper  rim.  White  hard- 
texture  porcelain,  of  fine  quality. 

The  embellishment  presents  a spirited  warrior  subject,  including  a rocky  landscape 
and  detached  cliff-like  formations,  in  relief  and  carefully  picked  out  in  brilliant  colors  of 
the  “ famille  verte  ” variety  with  gilding,  upon  a uniformly  white  glazed  ground. 

Two  distinct  groups  of  armed  horsemen,  in  full  charge  toward  each  other,  are  con- 
fronted by  the  appearance  of  wild  animals,  including  the  burly  rishi  giant  Chung-kwei(?).^ 

A banner  shown  by  one  of  the  groups  bears  the  mystical  symbol  “Yang  and  Yin.” 
Fragments  of  rocky  landscape  with  conventional  clouds  concludes  the  raised  and  colored 
decoration. 

The  shoulder  is  decorated  with  a brocaded  arabesque  design  in  red,  involving  chrysan- 
themums and  four  white  reserve  vignettes  or  panels  showing  a separate  treatment  of 
flowers  and  fruit,  and  a small  green  scalloping  finishes  the  outer  edge. 

The  neck  is  encircled,  at  the  shoulder,  by  a green  and  black  fret  band,  and  two  small 
scalloped  borders  form  a center  division  that  sustains  a red  and  gold  dragon  amid  clouds 
and  flames  in  low  relief. 

The  upper  rim  is  bordered  by  a fret  design  penciled  in  red,  and  the  foot  is  finished  by 
an  involuted  band  of  spear-heads. 

Produced  in  the  eighteenth  century  (probably  toward  the  end  of  the  reign  of  K’ang- 
hsi). 

Height,  29  V4  inches. 

Diameter,  8 inches. 

^ A favorite  myth  of  the  Chinese.  He  was  supposed  to  be  a ghostly  protector  of  the  Emperor 
Ming  Hwang  (713-762  A.D.),  and  is  sometimes  shown  riding  upon  a lion  or  tiger. 


[94] 


No.  73 

Tall  Square  Vase 

Famille  verte,  showing  the  four  sides 
( K’ang-hsi) 


r 


CHINESE  PORCELAINS 


No.  I'h 

Tall  Square  Vase,  brilliant  “ famille  verte  ’ type  (polychrome  colors  with 
the  green  predominating),  its  rectangular  form  tapering  downward  from 
the  curved  shoulders,  with  a slightly  everted  cylindrical  neck  (mortar- 
shaped); the  paste  is  of  fine  hard  texture  and  rare  purity. 

The  four  vertical  panels  show  two  separate  treatments  in  superb  “over-glaze”  decora- 
tion and  lustrous  colors;  two  sides  have  a light  transparent  green  ground  sustaining  in- 
dividual floral  motives  of  minute  and  felicitous  detail:  one  side  presents  a charming 
combination  of  the  peony  and  magnolia  plants,  with  their  blossoms  and  foliage,  in  warm 
natural  tints,  springing  from  behind  an  open  rocky  cliff,  with  pheasants  and  other  birds 
contnbuting  to  the  animation;  the  other  green  panel  carries  an  old  dwarfed  peach  (or 
plum)  tree  with  its  stems  in  aubergine  (manganese)  glaze,  bearing  white  and  yellow 
blossoms;  they  are  encircled  by  many  magpies,  birds  of  good  omen,  hovering  about  the 
fragrance. 

The  two  alternating  panels  show  a white  ground  with  landscape  and  figures,  in  the 
distinctive  colors  and  classic  taste  prevailing  in  China  during  the  seventeenth  century, 
under  the  Viceroy  Lang-ting-so,  at  the  King-te-chen  (Ching-le-chen)  factories. 

The  legendary  subject  depicted  upon  one  of  these  panels  includes  a high  mountain 
(Kw’en  Lun)  with  steep  and  rugged  ledges,  through  which  a distant  sea  (“Lake  of 
Gems”)  is  visible;  in  the  foreground  are  gathered  legendary  beings  (Taoist  immortals), 
assembled,  it  appears,  at  the  mountain  realm  of  the  Genii  fairy  Hsi-wang-mu,  who  is 
presented  nding  on  the  back  of  a fabled  phoenix  (Feng-huang)  flying  to  the  place  of 
meeting,  attired  as  a pnncess,  with  a “ Ju-i”  scepter,  and  nearing  the  old  sage,  presumably 
Lao  Tsze,  the  ancient  Chinese  philosopher  (termed  also  “God  of  Longevity,”  and  appear- 
ing with  a less  pronounced  high  forehead  than  usual),  who  stands  upon  a high  projecting 
ledge;  he  is  about  to  be  charged  with  an  important  mission  by  Hsi-wang-mu  for  a dis- 
tant votary,  and,  possibly,  to  receive  a “sacred  peach”  from  the  Genii  fairy. 

The  fourth  panel,  on  the  reverse  side,  presents  a more  domestic  scene,  and  one  that 
may  be  also  interpreted  from  Chinese  legends.  Lao  Tsze,  as  history  has  it,  was  a very 
small  man,  and  is  here  so  represented,  and  m the  act  of  delivering  the  “sacred  peach” 

[95] 


A CATALOGUE  OF  CHINESE  PORCELAINS 


of  longevity  coming  from  the  fabled  tree  “Fan-tao”  growing  in  the  domain  of  Hsi-wang- 
mu,  conferring  with  it  the  gift  of  immortality  on  the  venerable  person  depicted,  possibly 
the  King  Mu,  who  in  his  travels  (B.C.  985)  was  entertained  by  this  fabled  queen  of 
the  Western  regions:  or  it  may  be  the  fairy-queen’s  future  consort,  Tung  Wang-kung,  an 
Eastern  king. 

A young  prince  stands  by  this  favored  mortal,  fondly  embracing  him,  while  a very 
tall  person  in  court  attire  is  holding  a scroll,  indicating  a possible  interruption  in  the  read- 
ing of  a state  paper. 

A child  in  a wheel-chair,  with  an  attendant,  is  engaged  in  the  meantime  watching  the 
antics  of  three  boys  passing  near  the  terrace;  palms  and  an  old  pine  tree  in  the  back- 
ground complete  a masterly  handling  of  this  group,  that  is  probably  copied  from  the  early 
masters  of  the  Sung  or  the  Yuan  dynasty. 

The  four  panels  described  are  surrounded  by  a margin  with  fine  lines,  effectively  fram- 
ing them,  and  the  curved  shoulders  carry  peach  blossoms.  A medallion,  also  in  the  form 
of  this  fruit,  with  green  ground,  embellishes  the  neck,  portraying  Lao  Tsze  borne  on 
clouds  and  holding  a branch  of  the  sacred  peach  tree,  which,  legends  state,  blossoms 
every  three  thousand  years  and  yields  its  fruit  three  thousand  years  later.  An  inscription 
on  the  neck  finishes  the  fascinating  homogeneous  decoration  of  this  vase : from  a little 
poem,  entitled  “Mu-tan”  (Peony),  the  author  of  which  was  Han  Tsung,  who  lived  dur- 
ing the  T’ang  dynasty.  The  poem  refers,  in  part,  to  “the  dew  of  the  fairies’  golden 
hand,”  and  also  to  “the  precious  hall,”  alluding  to  the  Han-lin  Academy.  “The  jewelled 
hall,”  a term  of  respect  for  the  Han-lin  (Professor  F.  Hirth,  Ph.D.).  S.  Lockhart’s 
“Manual  of  Chinese  Quotations”  gives  a transcription  of  this  poem  reading:  “In  the 
morning  its  beauty  widely  spreads  the  dew  of  fairy  hands ; at  night  its  fragrance  in- 
tensely attracts  the  wind  of  the  Jade-stone  hall,”  a reference  to  the  reputation  of  Han-lin 
academicians. 

The  foot  is  in  biscuit,  with  sunken  panel  bearing  a blue  leaf-mark  (Artemisia),  with 
a small  ancient  inscription  under  glaze. 

its  provenance  is  ascribed  to  the  era  of  K’ang-hsi  (1662-1722). 

Height,  19‘/2  inches. 

Shoulder,  5^/e  x 5^/a  inches. 


[96] 


GROUP  WITH  A COLORED  FOUNDATION 


The  tall  square  vases  with  a reserved  design  of  transparent  enamel  glazes 
against  a colored  foundation  properly  constitute  a distinct  class  by  them- 
selves, and  they  have  for  centuries  ranked  among  the  noblest  creations  of 
the  Chinese  ceramist.  Esteemed  by  native  connoisseurs,  they  have  also 
held  a high  place  in  mandarin  and  princely  collections. 

The  several  examples  represented  here  are  of  a particularly  high  order, 
with  all  the  characteristic  attributes  in  point  of  paste,  and  rare  colored 
glazes,  which  easily  distinguish  them  and  the  period.  It  may  be  freely 
stated  that  their  degree  of  excellence  in  technique,  form,  and  embellish- 
ment has  not  been  reached  in  former  eras  nor  since. 

With  regard  to  certain  colored  glazes  which  are  taken  as  distinguish- 
ing marks,  attention  may  be  called  especially  to  the  tints  of  manganese 
purple,  to  their  peculiar  transparency  and  shades,  and  to  the  emerald  and 
yellow-toned  greens  which  always  characterize  the  early  products  of  the 
K’ang-hsi  era,  while  the  yellow  enamel  color  is  itself  also  noteworthy. 
Vide  Nos.  74  and  75. 


|971 


A CATALOGUE  OF 


No.  74 


Tall  Square  Vase,  Imperial  yellow-glazed  ground,  with  the  so-called  haw- 
thorn blossoms  and  other  symbolic  flowering  plants,  held  in  reserve. 

A fine  rectangular  form  is  presented,  tapering  down  from  the  shoulder,  with  a slightly 
flaring  cylindrical  neck,  like  a chemist’s  mortar.  The  porcelain  is  of  fine  hard  texture 
and  sustains  a most  resplendent  floral  embellishment,  that,  with  changes  in  the  ground- 
color,  give  sumptuousness  to  its  extraordinary  decorative  splendor. 

Each  of  the  four  vertical  panels  carries  a superb  symbolic  decoration  of  a flowering 
plant,  that  indicates  its  season — e.g.,  the  fair  peony  (for  spring)  is  represented  in  full 
bloom,  and  large;  several  are  colored  in  brilliant  red,  relieved  by  one  in  purple  and  another 
in  white,  growing  on  strongly  marked  and  knotted  branches,  glazed  in  neutral  aubergine, 
springing  from  amid  open  rocks  and  other  herbage  in  var)dng  shades  of  green,  and  all 
carefully  rendered,  including  some  birds. 

The  second  panel  displays  the  radiant  lotus  (for  summer)  boldly  drawn  and  penciled 
in  a strong  red;  the  large  and  long  stems  are  in  green,  and  grow  among  different  ferns, 
in  shallow  water,  with  several  insects  hovering  above. 

The  symmetrical  chrysanthemum  (for  autumn)  fills  the  third  panel,  showing  the  flowers 
carefully  penciled  in  red,  with  here  and  there  one  picked  out  in  purple  glaze,  growing 
from  the  side,  among  rocks  on  an  elevation,  and  in  strong  outline  against  the  yellow 
body-color. 

The  delicate  blossoms  of  the  wild  prunus  (for  winter)  fill  the  fourth  panel,  showing 
many  of  the  flowers  in  red ; the  branches  are  carefully  picked  out  in  aubergine  glaze,  with 
darker  hatching  of  the  same  tint,  and  rooted  among  rocks  on  the  side  of  a precipice. 
The  rendering  of  the  finely  tapered  stems  and  branches,  bearing  the  blossoms  in  diminish- 
ing sizes,  is  typical,  and  tends  to  give  perspective  value  to  the  otherwise  flat  unshaded 
coloring.  This  freely  handled  floral  motive  is  animated  by  a few  birds  hovering  above  the 
fragrant  blossoms. 

The  mortar-shaped  neck  is  also  invested  with  a yellow  glaze  and  flowering  plants 
involving  insects  and  butterflies,  including  two  dark-green  and  yellow  chevron-fretted 

[98] 


.oM 

98bV  916Up8  IIbT 

luol  aril  §niworla  .bnuoig  wollay-lBnsqfnl 
(lerl-gnB*^  yJib3) 


No.  74 

Tall  Square  Vase 

Imperial-yellow  ground,  showing  the  four  sides 
( Early  K’ang-hsi) 


r 


\ 


CHINESE  PORCELAINS 


bands  that  finish  the  upper  and  lower  edges,  with  a purple  line  on  either  side.  Sprays 
of  floral  blossoms  finish  the  shoulders. 

A white-edged  margin  with  fine  purple  lines  frames  the  four  panels,  and  completes 
an  altogether  characteristic  decorative  design,  that  is  enhanced  by  the  wonderful  richness 
of  the  colored  enamels,  exemplifying  one  of  the  rare  types  produced  under  the  Emperor 
K’ang-hsi,  and  ascribed  to  the  prefecture  of  Lang. 

The  foot  is  partly  in  biscuit  and  incloses  a sunken  white-glazed  panel  with  the  six 
character-marks  in  blue  of  Ch’feng-hua  (1465-1487)  of  the  Ming  dynasty  (apocryphal). 

The  combined  colors  attest  its  provenance  as  early  K’ang-hsi  or  T s’ing-yao. 

Height,  1 9 inches. 

Diameter  at  shoulder,  SVg  inches. 

Diameter  at  base,  4%  inches. 

From  the  collection  of  Chang-yen  Huan,  formerly  Minister  at  Washington  and 
special  Imperial  envoy  to  England  for  the  Queen’s  Jubilee. 


[99] 


A CATALOGUE  OF 


No.  75 

Tall  Square  Vase,  with  light-green  ground,  of  the  so-called  hawthorn 
class,  its  rectangular  form  tapering  downward  from  the  shoulders,  with 
a slightly  flaring  cylindrical  neck. 

The  paste  is  hard  and  of  fine  dense  texture,  agreeably  sustaining  a soft  light-green 
glazing  that  is  of  rare  mottled  quality,  harmoniously  blending  with  the  emblematic 
flowering  plants,  rendered  in  low  tones,  with  masterly  freedom  and  much  delicacy,  in 
the  typical  glazes  of  the  early  K’ang-hsi  palette/ 

Each  of  the  four  vertical  sides  indicates  a season  by  its  distinctive  flower — e.g.,  the 
peony,  for  spring,  is  represented  in  aubergine  and  yellow,  with  the  knotted  and  strongly 
marked  branches,  in  neutral  manganese  glaze,  springing  from  near  large  pointed  rocks, 
amid  other  herbage,  all  picked  out  in  various  green,  purple,  and  yellow  glazes. 

The  lotus,  for  summer,  is  naturally  displayed  on  the  second  panel,  with  large  leaves, 
its  seed  and  long  stems  growing  in  shallow  water  and  among  ferns  and  grass;  two 
ducks  in  the  foreground,  together  with  insects  above,  lend  life  and  aid  the  composition. 

The  chrysanthemum,  for  autumn,  fills  the  third  panel,  and  is  shown  clustered  among 
large  rocks  that  project  from  the  side  of  an  elevation,  all  carefully  glazed  in  various 
greens,  yellow,  purple,  and  aubergine,  in  strong  outline  against  the  pale-green  ground- 
color. 

The  blossoms  of  the  wild  prunus  (hawthorn),  for  winter,  are  represented  on  the 
fourth  side,  rooted  close  to  a large  pointed  rock,  with  the  numerous  branches  knotted 
and  knurled  to  suggest  an  old  tree,  and  glazed  in  neutral-toned  aubergine  with  dark 
hatchings;  the  foliage  is  picked  out  in  var)ong  shades  of  green,  while  the  blossoms  are 
in  white  reserve,  with  yellow  in  the  coronas,  carefully  drawn  in  various  sizes  from  the 
full-grown  blossom  to  the  smallest  buds;  two  magpies  hover  above,  one  of  which  is 
yellow  and  the  other  purple,  while  both  have  green  wings ; a small  disk  represents  the 
sun  on  this  and  on  the  peony  panel. 

^The  few  examples  of  this  class  known  to-day  Ts’ing-ying-hsuan  as  superintendent,  and  it  was 
have  been  ascribed  as  made  under  the  prefecture  he  who  especially  became  famous  for  such  objects, 
of  Lang,  who  retained  his  office  until  about  1 688;  known  in  China  as  Ts’ing  porcelain, 
but  in  the  year  1683  the  Emperor  appointed 

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The  four  edges  of  the  vase  have  yellow-glazed  margins  and  a line  of  aubergine  fram- 
ing each  panel. 

The  mortar-shaped  neck  is  also  invested  in  pale-green  glaze,  like  the  sides,  and  sus- 
tains various  flowers,  butterflies,  and  insects  which  are  dispersed  over  the  field;  dark- 
green  and  yellow  chevron-fretted  borders,  at  the  lip  and  edge  of  shoulder,  accompanied 
by  a small  band  in  purple  manganese,  finish  the  neck.  Each  shoulder  displays  emblem- 
atic fungus  forms,  among  grasses,  in  purple  and  yellow. 

The  foot  is  partly  in  biscuit,  and  the  white-glazed  sunken  panel  bears  the  six  blue 
character-marks  of  the  period  Ch’eng-hua  (1465—1487).  Dynasty  of  the  Ming  (apoc- 
ryphal). 

Paste  and  translucent  glazes  are  characteristic  Ts’ing-yao  types  produced  under 
K’ang-hsi. 

Height,  1 9 ^ 4 inches. 

Diameter  at  shoulders,  5%  inches. 

Diameter  at  base,  4%  inches. 

From  the  collection  of  Chang-yen  Huan,  formerly  Minister  at  Washington  and 
special  Imperial  envoy  to  England  for  the  Queen’s  Jubilee. 


[101] 


PORCELAINS  WITH  A BLACK  GROUND 


These  porcelains,  showing  the  reserved  design  separately  treated  in 
light  transparent  and  opaque  enamel  colors,  form  a characteristic  class  by 
themselves.  This  mode  of  decoration,  originating  in  China,  has  for  cen- 
turies been  applied  upon  both  biscuit  and  the  purest  white  paste.  It 
may  be  stated  that  to  fix  the  opaque  black  enamel,  and  to  cover  the 
ground  and  to  assimilate  evenly,  taxed  the  skill  of  the  ceramists  of  early 
periods,  so  that  such  products  afford  standards  of  excellence  to  all  sub- 
sequent eras  and  remain  unrivaled  to  this  day. 

The  dull  black  enamel  color  is  developed  under  the  action  of  a central 
fire,  of  an  intensity  suited  to  the  fusibility  of  the  metallic  oxides  used. 
To  produce  the  desired  color  white  lead  is  employed,  mixed  with  oxides 
of  cobaltiferous  manganese  and  copper.  In  some  pieces  made  in  more 
recent  periods,  the  black  enamel  shows  clear  signs  of  a treatment  to 
reduce  its  natural  brilliance  in  imitation  of  the  older  specimens. 

The  brilliant  black  enamel  is  obtained  from  oxides  of  manganese  and 
calcined  cobaltiferous  ores,  with  a mixture  of  certain  proportions  of  fer- 
ruginous earth,  which  gives  the  brown  tinge  called  in  China  “Tzii-chin.” 

The  number  of  metallic  oxides  used  for  other  colors,  viz.,  green,  yellow, 
amber-green,  etc.,  although  limited,  were  combined  by  the  ceramists  in 
varying  mixtures,  so  as  to  obtain  many  contrasting  tints  of  special  beauty 
and  quality. 


[103] 


A CATALOGUE  OF 


No.  76 

Square  Vase,  “ black-hawthorn  ” variety,  tall,  with  rectangular  body 
tapering  downward  from  curved  shoulder  that  unites  with  the  graceful 
flaring  (mortar-shaped)  neck:  the  porcelain  is  of  dense  white  kaolinic 
paste,  and  of  fine  texture,  showing  at  the  foot  and  on  the  edges  of  the 
four  panels. 

The  four  sides  are  superbly  embellished  with  favorite  Mandarin  flower  subjects,  in  bril- 
liant polychrome  colors,  pleasingly  relieved  by  the  soft  greenish-black  enameled  ground.^ 
Graceful  flowering  plants  are  presented  on  each  vertical  panel,  that  symbolize  a 
season : i.e.,  the  fair  peony  for  spring,  the  lotus  for  summer,  the  chrysanthemum  for 
autumn,  and  the  wild  prunus  (hawthorn)  for  winter,  shov/ing  the  blossoms  in  red  and 
white ; all  are  skilfully  rendered  in  drawing  and  in  typical  colored  glaizes,  including  red 
of  iron,  with  the  foliage  and  rugged  masses  of  rocks  in  various  brilliant  shades  of  green  ; 
the  stems  are  glazed  a characteristic  manganese  (purple  tone)  employed  during  the  pre- 
fecture of  Lang,  under  the  Emperor  K’ang-hsi. 

The  neck  and  four  corners  of  shoulder  are  separately  enriched  by  sprays  of  blossoms 
and  flowers,  with  the  black  ground-color  of  body ; two  narrow  borders  in  “ herring- 
bone ’ ’ chevrons,  picked  out  in  green  and  yellow  glazes,  encircle  the  top  and  the  base 
of  neck. 

The  foot  is  in  biscuit,  and  has  a sunken  glazed  panel  bearing  the  six  (apocryphal) 
Ming  marks  of  Ch’eng-hua  (1465-1487),  but  the  specimen  may  be  ascribed  with  more 
certainty  as  early  K’ang-hsi  (1662-1722). 

Height,  20  Va  inches. 

Diameter  at  shoulder,  5 x 4 ^/4  inches. 

Diameter  at  foot,  4'/2  x 4 V2  inches. 

From  the  collection  of  Chang-yen  Huan,  formerly  Minister  to  Washington  and 
special  Imperial  envoy  to  England  at  the  Queen’s  Jubilee. 

’ Specimens  with  a black  enameled  ground  in  to  us  from  those  remarkable  epochs  in  ceramic  art ; 
which  the  design  is  reserved  for  a separate  glaz-  from  which  we  may  amply  adduce  the  great  skill 
ing  are  among  the  inventions  for  which  the  Chinese  of  ancient  ceramists,  aside  from  any  designs  by 
deserve  special  credit,  as  they  are  technically  their  great  painters  which  may  have  inspired  them, 
among  the  most  notable  productions  handed  down 

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CHINESE  PORCELAINS 


No.  77 

Tall  Square  Vase,  with  “ black-hawthorn  ” embellishment,  its  rect- 
angular form  tapering  downward,  and  shoulder  slightly  curved,  with 
mortar-shaped  neck : the  paste  is  of  dense  kaolinic  texture,  that  shows 
on  the  reserved  white  margin  bordering  the  edge  of  each  panel. 

This  vase  is  invested  with  a heavy  lustrous  green-black  enamel  that  attractively 
sets  off  the  imposed  decoration  on  the  four  sides,  displaying  with  fascinating  fidelity  the 
branches  of  the  wild  prunus  (“  Mei  ”)  tree,  springing  alternately  from  the  shoulder  or 
base,  and  profusely  covering  each  of  the  panels  with  white  buds  and  blossoms, 
surrounded  by  fluttering  or  flying  birds,  all  picked  out  and  harmoniously  glazed  in 
light  transparent  colors,  with  strongly  outlined  branches  glazed  in  a neutral  tint  of 
aubergine  (manganese)  shaded  by  hatched  lines  and  knurls  in  a darker  tone. 

The  four  corners  of  shoulder  bear  white  clusters  of  the  same  blossoms,  and  the  neck, 
also  in  black,  holds  butterflies  and  lotus  flowers  alternately;  the  square  foot  is  biscuit 
(unglazed). 

Era  of  K’ang-hsi  (1662-1722). 

Height,  1 9 Ve  X 5 % inches. 


[105] 


A CATALOGUE  OF 


No.  78 


Tall  Vase,  baluster-formed,  of  the  “ black-hawthorn  ” type. 

The  porcelain,  which  is  of  a hard  white  quality,  is  invested  with  a soft  greenish-black- 
enamel  body-color,  carrying  a typical  reserved  design  of  the  wild  prunus  (“  Mei  ”)  tree, 
with  its  growth  of  sturdy  branches  and  stems  bearing  white  and  green  blossoms,  with 
yellow  centers  carefully  drawn  with  minutest  details  and  finely  disposed  upon  the  body 
of  the  vase,  with  foliage  and  birds  picked  out  in  varying  shades  of  transparent  green  and 
yellow  glaze;  the  knurled  branches,  starting  from  the  base,  are  in  neutral-toned  auber- 
gine (color  of  manganese),  and  spring  out  amid  openwork  rockery,  in  varying  shades  of 
green  glaze. 

The  paste,  together  with  the  enamel  colors  and  the  beautiful  contour,  jointly  present 
a typical  specimen  of  the  K’ang-hsi  era  (1662-1  722). 

Height,  1 5 V2  inches. 

Broadest  diameter,  8V4  inches. 


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No.  79 


Presentation  Dish,  of  fine-textured  white  porcelain,  with  exquisite  enamel- 
ing and  finish. 

The  center  panel  of  face  is  decorated  with  a rampant  Imperial  dragon  (five  claws), 
in  lustrous  black  enamel,  pursuing  the  “ sacred  pearl  ” among  nebulae  of  fire,  relieved  by 
a light  transparent  green  ground,  with  double  black  lines,  and  bordered  by  a soft-toned 
white  glaze. 

The  under  side  is  bordered  with  brilliant  black  glaze,  showing  two  iridescent  green 
dragons,  with  five  claws,  carefully  drawn  amid  conventional  fire  motives ; underneath 
shows  a white  glazed  foot  and  a circular  dragon  medallion  with  nebulae  of  fire,  bearing 
the  “ Nien-hao  ” in  four  characters. 

Era  of  Ch’eng-hua  (1465-1487).  Apocryphal,  and  likely  of  the  Ts’ing  dynasty 
(K’ang-hsi,  1662-1722). 

Height,  1 V2  inches. 

Diameter,  7 inches. 


[107] 


A CATALOGUE  OF  CHINESE  PORCELAINS 


No.  80 

Large  Bowl,  of  fine-grained  hard-paste  porcelain. 

The  exterior  sustains  a freely  designed  floral  motive,  picked  out  in  light  transparent 
glazes,  and  relieved  by  a brilliant  jet-black  ground;  the  freely  drawn  flowers  include 
the  peony,  magnolia,  and  hydrangea.  The  interior  is  also  decorated,  showing  yellow 
and  green  blossoms  with  stems  and  foliage,  against  a pale  white-glazed  body. 

The  white  foot  bears  a blue  ring  with  a grass-mark  under  the  glaze. 

Era  of  Kang-hsi  (1662-1722). 

Height,  3 V2  inches. 

Diameter,  7 V2  inches. 


[108] 


EARLY  SPECIMENS 


This  group  of  more  primitive  pieces  may  be  ascribed  to  provinces  of 
China  where  the  manufacture  of  porcelain  or  pottery  has  long  been  obso- 
lete ; their  exact  date  of  production,  also,  remains  a mooted  question. 
It  may  be  stated  that  the  first  pieces  of  their  kind  which  were  received 
from  China  were  designated  by  native  experts  as  Sung  or  Yiian  porce- 
lains, and  nobody  then  in  Europe  or  in  America  knew  about  such  classic 
Chinese  objects.  Since,  however,  they  have  been  absorbed  by  museums 
and  figure  in  some  of  the  most  noted  collections  to-day,  others  of  a simi- 
lar type  have  followed.  While  such  objects  were  made  during  the  Ming 
and  also  in  later  periods,  it  is  very  possible  that  these  particular  pieces 
here  under  our  view  can  be  placed  as  belonging  to  the  transitory  era 
between  the  Yiian  and  the  Ming  dynasty;  and  may  have  been  inspired 
by  more  ancient  pieces  of  baked  clay  in  their  remote  turn. 

The  examples  of  this  class  are  always  glazed  on  the  biscuit  {i.e.,  paste 
baked  in  a kiln)  before  the  colors  are  fixed  by  a second  firing,  and  gen- 
erally the  biscuit  shows  through  the  glaze  here  and  there  in  various  ways, 
according  to  thickness  of  glaze,  accident  or  intention,  and  sometimes 
owing  to  the  disintegration  of  the  glaze  itself  or  the  prevailing  conditions 
of  usage ; but  the  paste  shows  in  such  objects  to  have  less  kaolin  than 
later  porcelain,  or  the  porcelain  used  for  other  types. 

The  embellishments,  which  are  modeled  in  low  relief,  perforated,  or 
engraved,  afford  outlines  for  the  different  enamel  colors,  among  which 
may  be  particularly  noted  a deep  lapis-blue,  shading  into  purple  or  violet, 
often  resembling  the  color  of  plum-skin,  or  aubergine,  amber-yellow,  and 
a turquoise  color  varying  in  tints  with  epochs  of  production.  The  vitre- 
ous green  is  generally  used  for  interior  glazing ; on  late  pieces,  however, 
this  color  appears  in  the  embellishment  of  the  exterior. 

These  specimens  possess  additional  interest  by  reason  of  the  fact  that 
they  enable  us,  at  this  period,  to  picture  to  ourselves  what  some  of  the 
early  porcelains  or  potteries  were  like. 

[109] 


A CATALOGUE  OF 


No.  81 

Cabinet  Vase,  biberon  shape  (late  Yiian  or  early  Ming),  the  body  wi- 
dening upward,  with  attenuated  neck,  of  dark  and  heavy-textured 
porcelain,  sustaining  outlined  decoration  in  low  relief,  picked  out  in 
amber  and  turquoise-colored  glazes,  on  a dark  lapis-blue  ground  of 
unctuous  texture. 

The  design,  imposed  and  engraved  on  body,  consists  of  a free-flowering  stem  with 
foliage,  alternating  with  an  ornamental  motive  of  open  coral-like  rockery,  interspersed 
with  small  aquatic  star-shaped  figures.  The  decoration  is  completed  by  interlaced 
strings  of  pearls,  in  white  with  intaglio  pendants  in  yellow  and  turquoise,  hanging  from 
the  shoulder,  and  the  base  is  surrounded  by  rudimentary  foliations  in  turquoise. 

The  under  foot  and  interior  of  neck  are  in  dark-brown  biscuit. 

Yiian  dynasty  (1260-1367).  Ming  dynasty  (1368-1643). 

Height,  12  inches. 

Diameter,  5^4  inches. 


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CHINESE  PORCELAINS 


No.  82 

Cabinet  Vase,  biberon  form,  widening  upward,  with  attenuated  neck,  of 
heavy-textured  Yiian  or  Ming  porcelain,  sustaining  an  outlined  deco- 
ration imposed  on  the  paste,  in  low  engraved  relief,  and  separately 
glazed  in  turquoise,  with  a dark  amber-colored  biscuit  showing  through, 
against  a ground  of  dark  lapis-toned  blue. 

The  embellishment  consists  of  four  slightly  raised  plants  with  foliage,  glazed  in 
turquoise-blue,  and  a scallop-shaped  bordering,  with  strings  of  beads  and  floral  sprays  in 
each  separation ; the  base  is  encircled  by  a band  with  rudimentary  ornament  and  foli- 
ated form,  also  in  turquoise. 

The  interior  of  neck  is  in  green  glaze  of  vitreous  quality,  and  the  foot  bears  a sunken 
panel  in  the  same  glaze,  with  a biscuit  rim. 

Yiian  dynasty  (1260-1367).  Ming  dynasty  (1368-1643). 


Height,  1 2 inches. 
Diameter,  5 ' 2 inches. 


A CATALOGUE  OF  CHINESE  PORCELAINS 


No.  83 

Massive  Jar,  oviform,  reticulated  and  of  heavy  Sung  paste,  with  its  own 
porcelain  pedestal,  glazed  partly  in  purple,  with  turquoise  and  amber- 
yellow  trimming,  “ sur  biscuit,”  which  shows  through  the  edges  of 
ornamentation  and  at  the  foot,  with  less  kaolin  than  later  porcelain. 

The  outer  casing,  which  is  superposed  on  an  interior  vase  of  solid  form,  presents  both 
raised  and  incised  ornamentation,  that  is  most  vigorously  modeled  and  undercut  in  the 
paste ; the  design,  which  is  archaic  and  rudimentary  in  parts,  presents  the  eight  (Pa-sien) 
immortals,  or  legendary  beings,  surrounded  by  conventionalized  clouds,  and  ornate  per- 
forations. 

The  figures  are  partly  glazed  in  deep  purple,  while  their  heads  and  hands  are  re- 
served in  the  biscuit  form. 

A bordering  in  scalloped  form,  and  with  openwork  inclosing  symbols  and  birds,  is 
clearly  defined  by  its  foliations  in  turquoise,  finished  at  each  upper  point  with  a rosette, 
and  at  the  lowest  points  with  tasseled  pendants  that  sustain  finely  modeled  rudimentary 
masks  of  demons,  against  a shell-like  shield ; between  the  tassel  and  mask  the  cords 
hold  alternately  an  intaglio  ornament  and  a button. 

The  base  is  embellished  by  a conventional  wave  border  in  turquoise-blue,  and  the 
neck  is  finished  by  a fringed  bordering,  with  the  rim  glazed  in  purplish-blue,  and  the 
interior  glazed  in  a light  mottled  turquoise. 

The  foot  is  in  biscuit  and  shows  the  paste  of  gritty  pottery  texture. 

The  pedestal  is  in  the  form  of  a raised  stand  with  incisions  through  the  body,  glazed 
in  dark  blue  and  turquoise,  with  bordering  in  yellow  matching  the  vase. 

Early  Sung  (960-1 259).  ^ 

Height  of  vase,  1 1 '/a  inches. 

Diameter  at  base,  8 inches. 

^ Descriptions  of  “ Chiin-chou  ” pottery  of  the 
Sung  dynasty,  quoted  in  the  “ T’ao-shuo,”  or 
treatise  on  pottery  (an  early  native  work),  would 
lead  one  to  believe  that  this  example  could  easily 
have  come  from  those  kilns  (eleventh  to  thirteenth 
centuries),  as  the  color  of  “ prune-skins,”  or  “ purple- 
brown,”  or  a “ purple-like  ink,”  is  referred  to,  as 
well  as  a green  called  “ parrot-green.”  The  gritty 

[112] 


or  sandy  paste  also  corresponds  with  the  records 
of  several  authorities. 

This  example  is  certainly  one  of  the  oldest  of 
its  class  that  has  come  before  me.  The  paste  differs 
from  Ming  specimens  or  Ming  reproductions  of 
older  t)q3es,  and  the  jar  may  well  be  classed  as  of 
an  early  era  in  the  Sung  dynasty. — J.  G. 


GLOSSARY 


> 


GLOSSARY 


Many  of  the  technical  terms  are  explained  in  other  parts  of  this  book. 


Accomplishments,  the  four  (of  the  Chinese 

scholar),  music,  chess,  calligraphy,  and  painting, 
often  represented  on  porcelain. 

AMITABHA,  the  most  popular  Buddha,  both  in 
China  and  Japan,  dating  from  the  third  century 
of  our  era  (it  is  only  since  the  fifth  century  that 
he  has  been  placed  in  the  foreground  in  China). 
Amitabha  is  supposed  to  preside  with  Kwan- 
yin  over  the  Paradise  in  the  West,  where  the 
good  may  enjoy  long  ages  of  rest.  See  S’akya- 
muni. 

ARHATS  (a  Sanskrit  term  meaning  “ worthy  ” or 
“ deserving  ”),  the  immediate  disciples  of  Bud- 
dha. The  Chinese  increased  their  number  from 
sixteen  to  eighteen  (Lohan)  during  the  T ang 
dynasty.  The  last  two  enrolled  are  constantly 
represented  apart  from  the  others,  their  attributes 
being  the  tiger  and  dragon.  The  Arhat  is  the 
perfect  Arya,  attained  only  by  passing  through 
the  different  degrees  of  sainthood,  and  implies 
the  possession  of  supernatural  powers. 
Armorial  Porcelain  : during  the  period  of 
K’ang-hsi  and,  later,  under  Yung-cheng  and 
Ch’ien-lung,  it  became  customary  for  nobles  and 
wealthy  individuals  in  Europe  to  order  porce- 
lains made  in  China  bearing  their  family  arms. 
Among  these  may  be  found  the  arms  of  dis- 
tinguished families  of  England  and  France  and 
the  provinces  of  the  Netherlands. 

Aubergine,  a purple  or  plum-colored  glazing 
derived  from  the  oxide  of  manganese : aptly 
named  by  the  French.  Its  tint  resembles  the 
rind  of  an  egg-plant. 

Bamboo  (“  Chu  ”)  is  an  emblem  of  longevity 
(owing  to  its  durability)  frequently  depicted 
on  porcelain.  The  bamboo  grove  was  the 
resort  for  scholars  in  former  times. 


Bats  are  constantly  depicted  on  porcelain. 
Looked  upon  as  of  good  omen,  when  five  bats 
(“  Wu  fu  ”)  are  grouped  together  it  signifies  the 
five  blessings,  longevity,  riches,  love  of  virtue, 
serenity,  and  an  end  crowning  life ; the  Chinese 
character  for  “ bat  ” and  “ happiness  ” having 
the  same  pronunciation. 

Biscuit  is  the  product  of  unglazed  paste  of  porce- 
lain which  has  been  baked  in  a kiln. 

Blanc  DE  Chine,  white-glazed  porcelain  with- 
out a colored  decoration  or  painting. 

BOCCARO  W ARE  : a name  applied  to  red  or 
brown  Chinese  pottery,  which  may  be  dec- 
orated in  enamel  colors  or  lacquer.  On  the 
most  ancient  specimens  the  surface  shows  a 
patinated  effect  like  old  bronze. 

Body,  or  Paste,  the  porcelain  substance  of 
which  cui  object  is  made.  See  Paste. 

Brocaded  Pattern,  a term  applied  where 
the  ground  or  field  is  covered  with  an  all-over 
design  in  arabesques,  or  with  flowers  and  foliage 
in  two  or  more  colors,  copied  sometimes  from 
rich  textile  motives. 

Buddhism,  called  in  China  the  religion  of  “ F6,” 
was  introduced  into  that  country  during  the  first 
century  A.D.  Its  favorable  reception  was 
due  largely  to  its  tenets,  which  allowed  the  in- 
corporation of  strange  deities.  The  first  “ Sutra  ” 
was  translated  into  Chinese  in  the  year  A.D. 
67,  during  the  time  of  the  later  or  Eastern  Han 
dynasty,  by  Kas’yapa  Matanga,  a disciple  of 
S’akyamuni,  who  entered  China  with  Han 
Ming-ti’s  embassy  on  its  return  from  Badakshan. 
By  its  means  the  Buddhist  doctrines  first  became 
known  in  China.  Such  translations  from  the 
Sanskrit  form  the  earliest  and  still  continue  to 
be  the  most  important  part  of  Chinese  Bud- 


[113] 


GLOSSARY 


dhistic  literature  and  art.  During  the  first  eight 
centuries  of  the  existence  of  Buddhism  in  China, 
the  circle  of  S’akyamuni’s  disciples  (Arhats) 
comprised  the  same  number  as  in  India  (sixteen), 
which  was  increased  in  the  ninth  century  A.D. 
by  the  enrollment  of  two  additional  disciples  to 
its  present  complement. 

BURGAUT£e,  lacquered  Chinese  porcelain  : gen- 
erally applied  to  a black-lacquered  ground- 
color  elaborately  inlaid  with  mother-of-pearl  and 
plates  of  silver  or  gold  leaf,  or  landscapes  with 
small  figures  ; produced  under  K’ang-hsi. 

Butterfly  Pattern,  a mode  of  embellish- 
ment in  which  this  insect  appears.  The  finest 
type,  as  well  as  the  rarest,  was  produced  during 
the  era  of  K’ang-hsi,  and  belongs  to  the  “ fa- 
mille-verte  ” variety.  Butterflies  (“  Hu-tieh  ”) 
are  often  employed  in  decoration  as  a sign  of 
conjugal  felicity,  and,  in  fact,  the  butterfly  may 
be  called  the  Chinese  Cupid. 

CETADON  (designated  by  the  Chinese  as 
“ Ch’ing  ”),  a pale-  or  sea-green  glaze  of  rather 
wide  range  in  tones,  and  of  varying  degrees  of 
transparency.  The  word  “ celadon  ” was  first 
used  to  designate  the  bluish-  or  greenish-gray 
costumes  worn  on  the  stage  by  shepherds,  and 
came  into  vogue  during  1612,  when  the  pas- 
toral romance  “ L’Astree  ” was  brought  out  by 
Honore  d’Urf^,  “ Celadon  ” being  the  name  of 
the  hero,  who  first  appeared  in  such  neutral 
green  cloths,  so  that  this  color  was  named  after 
him,  and  became  fashionable.  Chinese  porce- 
lain soon  thereafter  appeared  in  Europe,  and, 
being  glazed  in  a light  green,  this  name  was 
fixed  upon  it  directly  ; but  in  Persia  and  some 
other  Eastern  countries  celadon  ware  was  long 
known  under  the  name  of  “ Martabani.” 

CH’-LIN.  See  Ky-lin. 

CHING-TLcHEN  (Pekinese).  See  King-te- 
chen. 

Chrysanthemum,  an  emblem  of  autumn  and 
symbol  of  joviality.  This  flower  is  valued  for 
its  variety  and  richness  of  color. 

Citron  Fruit.  See  Hand  of  Buddha. 

Crackle,  a term  applied  to  pieces  in  which  the 
glaze  exhibits  a crackled  effect  running  over  the 
surface  like  broken  ice,  obtained  by  preparing 
the  respective  proportions  of  steatite,  silica,  and 
alumina  in  the  composition  of  the  glaze ; in  this 
manner  the  crackle  can  be  produced  in  various 


sizes  at  will.  The  large  and  more  irregular 
crackle  on  old  specimens  is  called  “ crab  claws,” 
and  the  smallest  “ fish-spawn  ” or  “ shad  roe.” 
The  fine  examples  of  dark  turquoise  usually  have 
this  latter  characteristic. 

The  oldest  crackle  ware  dates  back  to  the 
most  remote  periods,  antedating  that  in  which 
porcelain  was  produced  by  many  centuries. 
The  type  called  in  China  “ Mi-se, ’’  of  a pale 
ca.ft-au-la.ii  color,  is  probably  older  than  celadon 
crackle.  Another  type  of  crackle  was  called 
“ Tsui-khi-yao,”  and  was  produced  in  the 
thirteenth  century.  In  some  examples  the 
crackled  glaze  is  a strikmg  part  of  the  embellish- 
ment, especially  when  the  network  of  the  cracks 
is  filled  with  a red  or  black  coloring ; the  most 
notable  being  those  that  exhibit  two  distinct 
effects,  a large  crackle  colored  in  one  stain,  and 
a smaller  in  another. 

Crickets  are  frequently  kept  in  special  cages, 
and  persons  of  high  rank  as  well  as  others  amuse 
themselves  by  irritating  two  insects  in  a dish  and 
then  betting  on  the  prowess  of  their  favorites. 

Dog  FO,  sometimes  called  “lion  Fo,”  or  T’ai 
Shih,  a chimera  with  grinning  muzzle  and  sharp 
teeth,  curly  mane,  and  big  claws,  generally  rep- 
resented playing  with  a ball  (“  chu  ”)  : the 
habitual  defender  of  the  threshold. 

Dragon,  emblem  of  the  Emperors  of  China  ; 
the  number  of  claws  marks  the  rank  of  the 
wearer.  Thus  the  Imperial  dragon,  lung,  has 
five  claws;  and  the  dragon  of  princes  of  the 
third  and  fourth  ranks,  only  four  claws. 

The  lung,  or  dragon,  is  chief  of  the  four  Chinese 
supernatural  beasts.  Regarded  as  the  king  of 
the  scaly  tribe,  in  its  usual  form  it  is  a composite 
monster  with  the  scowling  head  of  the  camel, 
horns  of  a deer,  eyes  of  a rabbit,  ears  of  a cow, 
neck  of  a snake,  scaly  serpentine  body,  claws 
of  a hawk,  formidable  paws  of  a tiger,  and 
curious  flame-like  appendages  to  its  shoulders. 

The  dragon  of  the  sea  assumably  ascends 
in  waterspouts,  and  is  regarded  as  the  ruler 
of  all  its  phenomena,  and  as  such  is  worshiped 
and  feared  by  Chinese  fishermen.  The  su- 
perstition of  all  classes  toward  it  is  probably 
a modified  relic  of  the  wide-spread  serpent- 
worship  of  ancient  times.  (Williams’s  “ Middle 
Kingdom.”) 

In  art,  the  colors  vary  according  to  the  taste 
of  the  artists,  but  white,  yellow,  and  blue 


[114] 


GLOSSARY 


are  perhaps  the  most  frequently  seen ; each 
shade  having  its  own  symbolical  meaning,  al- 
though the  huang-lung,  or  “yellow  dragon,” 
is  the  most  honored  of  the  series  or  tribe.  As 
an  emblem  of  majesty  its  name  is  a euphemism 
for  that  of  the  Emperors  of  China  and  Japan ; 
the  Imperial  throne  {lung-<wei)  becoming  the 
“ dragon-seat,”  the  face  of  the  ruler  {[ung-yen), 
the  “ dragon  countenance.” 

DRAGON’S-EYE  Fruit  (“  Lung-yen  ”),  Nephel- 
ium  Longanum. 

EGG-SHELL  (“  t’o-t’ai  ”),  so  called  from  its  being 
supposed  to  be  no  thicker  than  the  shell  of  an 
egg.  These  fragile  pieces  are  made  usually  in 
“ hard  paste  ” and  of  the  purest  materials,  care- 
fully prepared  and  manipulated  through  every 
stage,  from  the  wet  clay  to  the  baking  and  the 
final  glazing  and  painting.  In  the  history  of 
King-te-chen  we  find  that  a quasi  egg-shell 
(known  as  “ Han  P i ”)  was  produced  during 
the  Lung-lo  period.  Ming  writers  refer  to  their 
porcelain  as  being  made  as  “ thin  as  paper  ” 
and  called  “ t’o-t’ai,”  or  bodiless ; but  allow- 
ance must  be  made  for  their  flowery  Eastern 
style  of  wnting. 

The  most  notable  egg-shell  to-day  is  the 
“ famille-verte  ” type,  made  under  the  Emperor 
K’ang-hsi,  followed  by  the  esteemed  “ famille- 
rose  ” egg-shell  porcelain  of  Y ung-chien  and 
Ch’ien-lung.  True  egg-shell  presents  great  dif- 
ficulties in  its  manufacture,  and  requires  extraor- 
dinary dexterity  on  the  part  of  the  ceramist 
artists  to  produce  it  perfectly. 

Enamel,  a term  applied  to  colored  glazes  em- 
ployed in  painting  on  porcelain,  as  well  as  to  the 
opaque  white  coating  that  is  sometimes  spread 
over  a coarser  quality  of  porcelain,  and  used 
especially  upon  large  pieces. 

In  technology  the  term  is  exclusively  reserved 
to  enamel  painting  over  the  glaze. 

The  Chinese  style  of  painting  with  these 
enamel  colors  differs  entirely  from  the  European ; 
especially  is  this  so  in  older  specimens,  where 
the  forms  are  not  modeled,  and  only  strokes 
of  black  or  darker  shades  define  the  outlines. 
The  colors,  laid  on  in  flat  tints,  are  stronger 
and  more  decorative  than  in  European  pro- 
ducts, and  a lightness  of  shades  gives  a pecul- 
iarity which  makes  them  approach  nearer  than 
any  other  to  the  vitrified  substances  known  as 
enamels.  Chinese  porcelains  are  therefore 


characterized  by  simplicity  and  by  a greater 
degree  of  uniformity. 

The  varieties  of  the  center  or  muffle-fire  colors 
have  played  probably  as  important  a part  in  the 
high  reputation  gained  by  Chinese  porcelains 
as  have  the  originality  and  harmony  of  the  de- 
signs or  forms. 

ENGOBE.  See  Slip  Decoration. 

European  Pattern.  The  influential  position 
occupied  by  the  Jesuits  was  maintained  chiefly 
by  their  high  attainments  in  the  sciences  and  as 
members  of  the  Board  of  Astronomy  down  to 
1814.  Contemporaneously  with  this,  they  ex- 
ercised considerable  influence  upon  other  matters 
not  directly  connected  with  the  studies  for  which 
they  were  famous.  Through  them  was  brought 
about  a style  of  decoration  on  porcelain,  for  the 
Palace  and  for  general  use,  that  was  purely 
European  in  its  character,  going  so  far  as  to  re- 
produce objects  from  European  capitals  as  well 
as  copying  the  dress  and  scenes  of  European 
life. 

On  certain  Ch’ien-lung,  Chia-ching,  and 
Tao-kuang  porcelain  a decided  tendency  is 
shown  toward  W estern  detail ; in  some  pieces 
may  be  noted  a marked  resemblance  to  ara- 
besques and  foliated  ornamentation,  evidently 
derived  from  illuminated  missals  and  due  largely 
to  the  influence  of  the  missionaries  and  their 
schools.  Besides  these,  the  Imperial  household 
was  greatly  impressed  with  the  enamels  of 
Limoges,  snuff-boxes,  and  European  watches 
which  came  to  China  from  France,  especially 
during  Yung-cheng’s  reign,  so  that  several 
Jesuit  brothers  were  commissioned  to  make 
European  designs  for  the  decoration  of  porce- 
lain, and  every  object  not  perfect  was  rejected 
by  the  superintendent  of  the  Imperial  factory. 
Many  of  these  gradually  passed  into  other 
hands.  Possessing  novelty  to  the  Chinese  mind 
and  interest  from  the  fact  that  they  were  ap- 
preciated at  court,  these  objects  would  serve 
as  models  in  the  decoration  of  ordinary  ware, 
and  thus  account  for  the  decadence  of  the  earlier 
Mongolian  character  on  such  objects. 

FAMILLE  Rose,  a term  given  by  Jacquemart 
to  objects  in  which  the  rose-color  may  dominate 
the  over-glaze  decoration. 

FAMILLE  VERTE,  a term  applied  by  Jacquemart 
to  a class  of  over-glaze  decoration  in  which 
green  enamels  are  dominant. 


[115] 


GLOSSARY 


The  foregoing  terms,  although  first  decried  by 
some  writers  on  Chinese  porcelains,  have  proved 
very  useful  in  quickly  describing  the  character 
of  such  specimens. 

F£:NG.HUANG,  or  FENG-HWANG  (frequently 
translated  as  “ Phoenix  ”),  is  the  generic  desig- 
nation usually  employed  for  a fabulous  bird  of 
wondrous  form  and  mystic  nature,  the  special 
emblem  of  the  Empresses  of  China.  In  works 
of  art,  it  is  a nondescript  bird  of  paradise  or  a 
compound  of  a peacock  with  the  addition  of 
five  gorgeous  colors,  typical  of  the  five  cardinal 
virtues.  In  literature,  it  is  said  to  have  the  head 
of  a pheasant,  the  back  of  a swallow,  the  neck 
of  a tortoise,  and  the  outward  semblance  of  a 
dragon.  (Mayer.) 

Early  legends  narrated  that  this  bird  made 
its  appearance  as  a presage  of  the  advent  of 
virtuous  rulers. 

Fillets,  pieces  of  red  cloth  or  tape  looped  or 
tied  round  an}^hing  believed  to  possess  the 
efficacy  of  a charm.  They  are,  in  fact,  to  the 
charm  what  the  halo  is  to  the  deities  or  gods 
and  goddesses. 

Fish.  The  carp  and  perch  are  the  two  species 
most  employed  in  art. 

Two  fishes,  united  by  loops  or  fillets,  have 
reference  to  domestic  felicity.  The  perch,  called 
“ Fu,”  is  supposed  to  go  about  in  pairs  ; and 
this  word  having  the  same  sound  as  “ Fu,” 
happiness  (meaning  also  plenty),  by  increasing 
the  number  to  two  (following  the  usual  Chinese 
method  of  expressing  a superlative)  it  is  made 
to  mean  a wish  for  the  utmost  plenty. 

FLAMB£  (“Yao-pien”)  or  transmutation  common- 
ly termed  “splashed  glcize”  : a variety  of  colors 
in  accidental  or  wilful  dappled  effect. 

Fu,  or  FUH,  a character  meaning  “ Happiness”  : 
often  represented  on  presentation  porcelain  in 
circular  seal  or  other  form. 

Fungus  (“  Lin-tchi  ” or  “ Ling-chih  ”),  Toly- 
porus  lucidus,  which  grows  at  or  near  the  root 
of  trees.  As  it  is  very  durable  when  dried,  it 
has  been  considered  by  the  Chinese  as  an 
emblem  of  longevity,  and  frequently  employed 
in  decoration  or  as  a mark  on  porcelain,  together 
with  the  grass  which  grows  near  it. 

Genii  (“  Yu  Sien  ”),  a certain  race  of  immortals, 
who  have  eaten  of  the  leaves  of  the  tree  called 
“ K’ien.”  The  result  of  this  food  is  that  the 


bodies  of  those  who  eat  of  it  become  pellucid 
as  crystal.  This  notion  is  derived  in  part  at  least, 
as  would  appear,  from  Buddhist  Sutras,  where 
a tree,  called  the  tree  of  the  King  of  Drugs,  is 
said  to  grow  on  the  Himalayas,  and  to  possess 
such  magic  virtues  that  whoever  smells,  touches, 
or  tastes  it  is  immediately  healed  of  all  diseases. 
(Mayer.) 

Glaze,  the  thin  glassy  covering  of  porcelain.  In 
China  it  is  made  of  pe-tun  mixed  with  lime, 
petrosilex,  and  fern  ashes ; “ hoa-chi  ” (steatite) 
is  also  used,  sometimes  mixed  with  the  glaze 
and  at  other  times  in  the  paste  ; another  sub- 
stance used  in  the  same  way  is  called  “ Y eou- 
ko  ” (d’Entrecolles). 

The  glaze  is  prepared  to  a liquid  state  and  ap- 
plied by  immersion,  by  sprinkling,  or  by  being 
blown  from  a tube  with  gauze.  See  also 
Enamels. 

Gourd  (“  Hu-lu  ”),  an  emblem  of  longevity,  ow- 
ing to  its  durability  when  dried. 

GRAVIATA  (a  term  rarely  used),  Pekin  porce- 
lain, made  as  a yearly  tribute  to  the  Emperor, 
who,  having  a large  collection  of  it,  often  pre- 
sents it  to  European  and  other  visitors.  It  was 
produced  particularly  under  Ch’ien-lung(  1736- 
1795)and  the  succeeding  period  of  Tao-kouang. 
Large  vases,  and  especially  bowls,  exist  of  this 
class,  with  a yellow,  rose,  or  pink  ground,  usu- 
ally engraved  in  small  patterns  and  covered 
over  with  other  enamel  colors  in  rich  arabesque 
motives.  Large  medallions  are  left  in  white  re- 
serve for  separate  flower  and  bird  decorations. 

The  bowls  are  generally  knowm  as  “ medallion 
bowls,”  and  come  also  in  a yellow-citron  or 
crimson  body-color,  v«th  similar  engraved  field. 

HALL-MARKS,  a form  of  inscription  on  Chinese 
porcelains,  often  put  on  pieces  according  to  the 
fancy  of  the  decorator ; but  as  the  artist  used 
the  more  or  less  romantic  designation  of  his 
studio  as  a “ nom  de  plume,”  or  the  seal  of  the 
superintendent  of  the  Imperial  factory,  much  un- 
certainty exists  as  to  these  so-called  “ hall- 
marks.” They  are  found  on  pieces  of  varying 
qualities,  from  those  made  and  inscribed  with 
the  name  of  an  Imperial  pavilion  to  the  “flow- 
ery ” trade-mark  of  some  particular  shop  where 
they  were  subsequently  offered  for  sale. 

HAND-OF-BUDDHA  (“  Fo-show  ”),  or  “ Bud- 
dha’s-hand,”  a peculiar  kind  of  citrus  fruit 


[116] 


GLOSSARY 


{citrus  Sa.rcoda.ctYtus),  cultivated  in  China, 
terminating  in  long,  narrow  points  like  fingers, 
hence  called  “ hand  of  Fo  ” or  Buddha.  It  is 
made  to  run  to  rind,  and  its  odor  is  said  to  be 
powerful,  although  rather  pleasant.  The  citron 
is  common  in  southern  provinces,  and  extraor- 
dinarily large,  but  scarcely  eaten  ; being  put  on 
a dish  to  please  the  eye  and  smell. 
Happiness,  God  of  (“  Fu  Hsing  ”).  See  Lao 
Tsze. 

Hard  Paste  (“  pate  dur4  ”).  a term  used  for 
white  Chinese  porcelain  proper.  It  is  formed 
of  two  materials  — one,  called  kaolin,  which  is 
derived  from  a feldspathic  clay  (see  Kaolin  and 
Porcelain) ; and  the  other,  called  in  China 
“ pe-tun,”  a mixture  of  feldspar  and  quartz 
that  by  careful  preparation  is  turned  into  a fine 
white  fusible  substance. 

The  paste  of  fine  hard  porcelain  is  translucent 
and  vitrified,  differing  from  ordinary  earthenware 
as  — for  example,  faience  — in  both  respects, 
and  from  stoneware,  which  has  no  clear  ring. 
See  Soft  Paste. 

Hawthorn,  an  English  trade  term  used  to 
designate  the  prunus-blossom  (“  Mei-hwa  ”) 
decoration  : notable  in  the  blue  and  white  and 
also  among  the  several  colored  grounds,  i.e. 
black,  green,  and  yellow,  hence  the  so-called 
blue  hawthorn,  the  black  hawthorn,  etc. 

HO-HO  (Japanese) ; a term  frequently  used  in- 
correctly. See  Feng-huang  (Chinese). 

HSI-WANG-MU  (literally,  “Royal  Mother  of 
the  West”),  the  legendary  Queen  of  the 
Genii,  who  is  supposed  to  have  dwelt  in  Central 
Asia  among  the  Ku’lun  Mountains  (also  written 
Kw’en-lun  and  identified  by  modern  geogra- 
phers with  the  Hindu  Kush),  where  she  held 
court.  Lich  Tsze  gives  a fanciful  tale  or  alle- 
gorical rhapsody  based  on  the  entertainment 
with  which  King  Mu  of  the  Chou  dynasty  was 
honored  and  enthralled  by  the  fairy  queen 
during  his  famed  travels  (about  985  B.C).  In 
later  ages  the  superstitious  vagaries  of  the  Em- 
peror Wu  Ti  of  the  Han  dynasty  (died  87 
B.C.)  gave  rise  to  innumerable  fables  respect- 
ing the  alleged  visits  paid  to  that  monarch 
by  Hsi-wang-mu  and  her  fairy  troop.  The 
imagination  of  the  Taoist  writers  of  the  ensuing 
centuries  was  exercised  in  glowing  descnptions 
of  the  magnificence  of  her  mountain  palace  close 
by  the  “ Lake  of  Gems  ” and  the  “ forests  of 
chrysoprase,”  where  the  “ tree  of  jade-stone,” 


which  is  the  tree  of  life  and  the  peach-tree 
of  the  genii,  is  supposed  to  grow,  whose  fruit 
confers  the  gift  of  immortality  which  is  bestowed 
by  the  goddess  upon  favored  beings  admitted 
to  her  presence  ; and  whence  she  despatches 
her  azure-winged  birds  (“  Ch’ing-niao  ”),  that 
serve,  like  the  doves  of  Venus,  as  her  mes- 
sengers. In  process  of  time  a consort  was  found 
for  her  (Tung  Wang-kung,  or  King  of  the 
East),  who  appears  to  owe  many  of  his  attri- 
butes to  the  Hindu  legends  of  India.  By  the 
time  of  the  Sung  dynasty,  a highly  mystical 
doctrine  respecting  the  pair  was  developed  and 
elaborated  in  literature  (the  “ Kwang  chi  ”). 
The  more  sober  researches  of  modem  writers 
lead  to  the  suggestion  that  Wang-mu  was  the 
name  either  of  a region  or  of  a sovereign  in  the 
ancient  West.  In  painting,  Hsi-wang-mu  is 
usually  depicted  as  a beautiful  female  in  the 
attire  of  a Chinese  princess,  attended  by  two 
young  girls,  one  of  whom  holds  a basket  of 
peaches  and  the  other  a large  fan. 

Imperial  Porcelain,  a term  applied  usually 
to  objects  (made  under  the  Ching  dynasty)  the 
interior  and  foot  of  which  are  glazed  in  tur- 
quoise or  other  distinct  enamel  color,  contrast- 
ing with  the  exterior  ground-color,  and  dis- 
tinguished by  the  mark  of  Nien-hao  being 
deeply  incised. 

Ju-  !,  or  JOO-E,  a short  curved  wand  terminating 
in  a fungiform  trefoil  at  the  upper  end  : carved 
usually  in  jade  or  some  other  material  of  special 
value.  This  rod  is  probably  of  Buddhistic 
origin,  as  in  ancient  Buddhistic  paintings  it  is 
usually  in  the  hands  of  priests  of  high  rank,  and 
is  regarded  as  a symbol,  therefore,  of  the  power 
of  faith.  It  is  also  used  as  a scepter  of  office 
and  authority. 

Kaolin,  a hydrated  silicate  of  alumina,  produced 
by  the  decomposition  of  feldspathic  rock.  It  is 
by  itself  infusible,  but  is  one  of  the  most  im- 
portant materials  entering  into  the  composition 
of  Chinese  porcelain.  Originally  so  called  from 
the  locality  whence  it  was  denved  (Kao-ling, 
near  King-te-chen).  Kaolin  is  the  material  that 
gives  plasticity  and  strength  to  porcelain  paste. 
It  is  found  in  the  mountains,  and  is  purified  and 
strained  first  through  a fine  sieve,  then  through 
a fine  silken  bag  made  double,  and  drained. 
The  paste  thus  formed  is  kneaded  and  worked 


[117] 


GLOSSARY 


until  the  material  is  thoroughly  compact,  after 
which  it  is  made  into  small  bricks  like  the  “ pe- 
tun-tse.”  These  bricks  are  marked  or  stamped 
by  the  makers,  and  sold  in  this  shape  to  the 
ceramist ; but  Pere  d’EntrecoUes  stated  that 
sometimes  counterfeit  marks  were  put  upon  an 
inferior  article. 

Kiln,  a porcelain  furnace : called  in  China 

“ Chao-yao.” 

KlNG-Tfe-CH£N  (Mandarin) : town  in  which  the 
most  important  factories  are  situated.  See  page 
xviii. 

KUAN-YIN,  or  KWAN-YIN,  the  goddess  called 
“ Queen  of  Heaven.”  Her  name  means 
“ Hearer  of  Prayers.”  Kuan-jan  is  believed  to 
share  with  Amitabha  the  dominion  of  the  Para- 
dise in  the  W est.  This  Bodhisattva,  according 
to  Chinese  theories,  is  of  native  origin,  and  was 
originally  the  daughter  of  a king  of  the  (first) 
Chou  dynasty  (690  B.C.),  a date  preceding 
the  introduction  in  China  of  Buddhism  from 
India.  Maternal  images  of  this  goddess  hold- 
ing a child  are  often  met  with  in  ceramic  art. 

KY-LIN,  or  Ch’-LIN,  a generic  name  of  one  of 
the  four  supernatural  creatures  of  Chinese 
Buddhistic  tradition  : an  emblem  of  good  gov- 
ernment and  long  life.  It  is  called  “ unicorn  ” 
when  represented  with  a horn.  There  are  sev- 
eral varieties  of  this  curious  and  legendary  ani- 
mal. It  is  supposed  to  appear  only  when  wnse 
and  just  rulers  or  great  men,  like  Confucius,  are 
bom,  and,  with  the  Feng-huang  and  the  red 
fox,  is  considered  to  be  of  good  omen.  Said 
“ to  tread  so  lightly  as  to  leave  no  footprints, 
so  cautiously  as  to  cmsh  no  living  creature.” 
This  animal  is  said  to  attain  the  age  of  a thou- 
sand years,  and  is  looked  upon  as  the  head  of 
hairy  animals.  It  is  depicted  with  character- 
istics of  many  different  creatures,  being  some- 
times shown  with  scaly  hide,  hoofs  and  legs  like 
a deer,  and  a tufted  tail ; the  shoulders  bearing 
flame-like  appendages  significant  of  its  divine 
nature.  Its  appellation,  Ky-lin,  is  compounded 
from  Ki,  the  male,  and  Lin,  the  female  animal. 

Lace  Pattern.  See  Vandyke  Pattern. 

LANG-YAO,  a Chinese  term  for  sang-de-boeuf 
porcelain,  technically  the  most  perfect  of  its 
class : named  after  the  famous  potter,  Lang- 
ting-so,  who  was  later  a director  of  the  Impe- 
rial factory  at  King-te-chen  under  the  Emperor 
K’ang-hsi. 


Lao  TSZE,  or  SHOU-LAO,  the  founder  of  the 
Taoist  system  of  philosophy.  Born  under  a 
plum-tree  (“  Li  ”),  he  is  said  to  have  taken  this 
as  a surname.  According  to  some  Chinese 
records  he  became  incarnate  1321  B.C.,  while 
other  accounts  state  that  he  was  bom  in  the 
second  month  of  the  dragon  year  and  period 
of  Wu  Ting  1324-1265  B.C 

Other  particulars  of  his  life  which  are  con- 
sidered authentic  state  that  he  was  the  keeper 
of  records  at  Lo,  a capital  during  the  Chou 
dynasty,  about  the  close  of  the  sixth  century 
B.C.,  and  professed  a doctrine  of  abstraction 
from  worldly  cares  based  upon  speculations  re- 
garding Reason  (Tao)  and  Virtue  (Te).  It  is 
stated  that  this  excited  the  curiosity  of  Confu- 
cius, who  is  said  to  have  visited  LaoTsze,  and  to 
have  retired  disconcerted  at  his  bold  flights  of 
imagination.  (The  statement  regarding  this 
meeting  is,  however,  open  to  doubt.)  After  a 
long  period  of  service,  LaoTsze  is  said  to  have 
retired  to  the  West,  after  confiding  a wnritten 
statement  of  his  philosophy  to  a keeper  of  a 
frontier  pass  of  Han  Ku,  named  Yin  Hsi. 

Later  mystics  improved  upon  this  account  of 
his  “ classic  of  Reason  and  Virtue  ” by  assign- 
ing a period  of  mythical  antiquity  and  a mirac- 
ulous conception,  through  the  influence  of  a 
star,  to  Lao  Tsze’s  birth. 

According  to  the  various  accounts,  he  has 
lived  for  many  centuries.  His  professed  dis- 
ciples, Lieh  Tse  and  Chuang  Tze  (in  the  fourth 
century  B.C.),  and  Hai  Nan  Tze  (in  the  second 
century  B.C.),  progressively  developed  the  mys- 
tic element  thus  introduced,  and  a notable  im- 
petus accrued  to  it  from  the  superstitious  belief 
with  which  the  pretensions  of  the  alchemists 
were  received  by  the  Emperor  Wu  Ti,  from 
whose  period  onward  the  reverence  paid  to  the 
founder  began  to  assume  a divine  character. 

In  666  A.D.  he  was  for  the  first  time  ranked 
among  the  gods,  being  canonized  by  the  Em- 
peror as  the  “ Great  Supreme,”  the  “ Emperor 
of  the  Dark  First  Cause,”  and  his  tide  was 
again  enlarged  in  1013. 

The  achievement  of  corporeal  immortality 
having  been  the  chief  aim  of  the  sect  named 
after  him,  the  founder,  Lao  Tsze,  naturally  came 
to  be  considered  the  “ God  of  Longevity,”  and 
as  such  he  figures  in  paintings,  and  very  fre- 
quendyalso  on  porcelains,  being  usually  depicted 
as  an  aged  man  leaning  upon  a staff.  He  may 


[118] 


GLOSSARY 


be  distinguished  by  his  low  stature,  extremely 
lofty  forehead,  and  long  flowing  beard.  Some- 
times he  is  shown  riding  on  a stag  or  a tortoise, 
and  generally  holding  a “ Ju-i  ” in  his  hand,  at 
other  times  the  fruit  of  the  fabulous  fruit-tree 
“ Fan-tao,”  which  blossoms  every  three  thou- 
sand years  and  does  not  yield  its  peaches  until 
three  thousand  years  afterward. 

Ll-Cm  {Nephelium  Li-chi),  a fruit  sometimes 
grouped,  in  decoration,  with  peaches  or  flowers 
upon  Yung-cheng  and  other  porcelains. 

LO-CHOU.  This  mystic  enigmatical  device  was 
originated  in  the  remote  dynasty  of  Ha  (B.C.), 
and  inspired  by  the  markings  on  the  back  of  a 
turtle  which  appeared  on  the  surface  of  the 
water  to  Yu,  a sovereign  of  that  remote  period, 
during  great  inundation  of  the  country  (2217- 

2197  B.C.). 

Chinese  and  Anamite  philosophers  still  cling 
to  its  forms  and  uses,  and  military  movements 
or  positions  of  troops  have  been  regulated  by 
its  uses ; combination  of  the  points  also  signify 
various  virtues. 

LOHAN.  See  Arhats. 

Longevity,  God  of  (Shou  Hsing),  one  of  the 
three  star- gods  (the  others  being  the  God  of 
Happiness  and  the  God  of  Rank),  often  grouped 
or  shown  separately  on  porcelains.  See  Lao 
Tsze. 

Longevity,  the  first  and  greatest  of  the  “ Woo 
Fuh,”  or  five  blessings,  emblems  of  which  occur 
frequently  on  porcelain,  and  take  a great  vanety 
of  forms,  all  symbolizing  good  wishes  to  the 
possessors. 

Lotus,  a Buddhistic  flower.  The  Chinese  place 
the  Nelumbium  Opeciosum,  or  “ sacred  lotus,”  at 
the  head  of  cultivated  flowers.  It  perpetually 
occurs  on  porcelain,  and  may  be  called  the  em- 
blem of  fruitfulness  ; it  is  also  symbolical  of 
summer. 

Lucky  Emblems,  (“  Pa-chi-hsiang  ”),  eight  in 
number,  are  of  Buddhistic  origin  and  derived 
from  India.  They  are  altar-pieces,  and,  carved 
in  wood  or  molded  in  clay  with  variations  both 
of  shape  and  detail,  enter  largely  into  the  archi- 
tectural decoration  of  temples.  In  their  or- 
dinary form  they  also  appear  on  porcelain  as: 
( 1 ) a bell  (“  Chung  ”),  or  a wheel  with  fillets 
(“  Lun  ”),  representing  the  wheel  of  law ; (2) 
a shell  with  fillets  (“  Lo  ”),  the  chank-shell  of 
the  Buddhists  ; (3)  an  umbrella  (“  San  ”),  a 


state  umbrella  with  fillets;  (4)  a canopy  (“  Kai  ”) 
with  fillets  ; (5)  a lotus-flower  (“  Lien-hua  ”), 
sometimes  replaced  by  the  peony  {Mouta^n) ; 
(6)  a vase  (“  Kuan  ”)  with  fillets;  (7)  two 
dishes  (“  Erh  Y ii  ”)  united  by  fillets,  allegorical 
of  domestic  happiness ; (8)  angular  knot  with 
fillets  (“  Ch  ang  ”),  an  emblem  of  long  life. 

LU  Hsing  (the  God  of  Rank),  one  of  the  three 
star-gods.  See  Shou  and  Fu  Hsing. 

Magnolia  (Yulan),  MagnoUa.  Consptcua,  the 
emblem  of  sweetness  or  beauty : often  found 
depicted  on  Ming  and  early  K’ang-hsi  speci- 
mens. 

Magpie,  the  “bird  of  happiness”  (from  its 
merry-sounding  chatter),  especially  favored  and 
protected  by  the  present  occupants  of  the  throne 
of  China,  by  reason  of  the  part  played  by  this 
bird  in  the  divine  origin  of  their  ancestor.  It 
is  owing  to  those  legends  that  the  magpie  fig- 
ures so  often  on  the  porcelains  of  this  dynasty, 
and  especially  during  the  period  of  Emperor 
K’ang  -hsi. 

Mandarin  Ducks  (“Yuan-yang”),  beautiful 
fowls  which,  when  mated,  manifest  a singular 
degree  of  attachment  for  each  other,  and  hence 
are  often  used  as  emblems  of  connubial  affec- 
tion and  fidelity. 

Mandarin  Flowers,  a term  sometimes  ap- 
plied to  the  most  popular  Chinese  flowers,  Le., 
chrysanthemum,  peony,  magnolia,  prunus  blos- 
som, and  orchid  sprays. 

Mandarin  Porcelain,  a term  used  by  Jacque- 
mart  to  distinguish  certain  types  of  an  elaborate 
style  of  embellishment,  generally  depicting  man- 
darins, with  attendants  or  other  accessories, 
upon  reserved  panels  that  are  usually  surrounded 
WTith  superabundant  decorations,  including  or- 
naments in  slight  relief  and  gilt.  TTie  finest 
pieces  are  of  egg-shell,  dating  from  the  end 
of  K’ang-hsi  to  very  recent  times. 

MANG,  a composite  beast  resembling  the  dragon 
without  horns,  and  often  employed  as  a deco- 
ration on  porcelain.  In  art  it  is  usually  repre- 
sented as  a lizard  with  scowling  head  and 
beard,  a long  serpentine  body,  and  four  feet 
bearing  claws  but  without  talons. 

Motives  of  Decorations  (on  porcelains). 
Chinese  artists  drew  their  historical,  legendary, 
and  religious  inspirations  almost  entirely  from 
their  literature,  or  from  paintings  produced  by 


[119] 


GLOSSARY 


masters  of  the  Sung,  Yuan,  and  Ming  dynasties 
and  doubtless  originally  drawn  from  biographies 
of  famous  heroes  and  scholars.  Among  the 
most  elaborate  subjects  may  be  noted  those 
founded  on  the  episodes  of  history,  a large  pro- 
portion being  instances  connected  with  the  rise 
and  fall  of  the  Han  dynasty  (206  B.C.  to  220 
A.D.). 

Aside  from  the  historical  domain,  these  early 
masters  were  remarkably  felicitous  in  rendering 
the  wilder  forms  of  picturesque  beauty  in  land- 
scape, showing  towenng  silicic  or  rocky  peaks, 
rugged  cliffs,  and  gnarled  old  trees,  cascades, 
winding  streams,  and  cultivated  valleys.  These 
elements  the  Chinese  artist  presents  on  porcelain 
in  a thousand  never-failing  embellishments  of 
interest ; or,  again,  he  shows  more  simple  mo- 
tives of  floral  or  vegetable  life,  no  more  ambi- 
tious than  a bit  of  bamboo  or  pine  twig,  or  a 
branch  of  the  plum  or  peach,  a magnolia  or 
peony  in  bloom,  with  a bird  or  two  in  symbol- 
ism of  a virtue  or  of  good  wishes. 

Mythical  zoology  also  holds  an  important 
place  in  his  art  motives,  and  is  drawn  upon  very 
often  for  the  embellishment  of  porcelain,  if  for 
no  other  reason  than  that  these  fabulous  ani- 
mals appertain  to  Buddhism  and  Taoism,  are 
often  special  emblems. 

Marks,  on  Chinese  porcelains,  are  divided  into 
various  classes,  viz.; 

1 . Date-marks,  in  two  modes  — Nien-hao 
and  dynastic. 

2.  Hall-marks. 

3.  Marks  of  dedication  and  good  v^shes. 

4.  Marks  in  praise  of  the  pieces  on  which 
they  are  inscribed. 

5.  Symbols  and  other  pictorial  marks. 

6.  Potters’  marks. 

The  full  list  will  be  found  in  several  works 
on  Oriental  ceramics  and  marks. 

MARTABANI,  a term  applied  by  the  Persians 
and  Turks,  in  ancient  times,  to  cdadon  ware, 
valued  especially  by  them  on  account  of  its 
supposed  quality  of  acting  as  a detector  of 
poison. 

MUFFLE-KILN  (called  by  the  French  “petite 
feu  ’’),  a kiln  used  for  soft  glazes  or  colors  con- 
taining a large  proportion  of  lead  that  diffuse  or 
vitrify  easily. 

NIEN-FIAO,  the  name  adopted  by  a Chinese 
emperor,  after  ascending  the  throne,  to  indi- 


cate the  years  of  his  reign.  It  dates  from  the 
beginning  of  the  new  year  after  his  accession, 
and  it  is  supposed  to  signify  the  qualities  of  the 
Emperor.  The  “ nien-hao  ’’  of  the  Emperor 
Kuang-hsii  (who  is  now  reigning)  means  “ in- 
herited luster.” 

It  must  be  noted  that  the  whole  of  a year  in 
which  an  emperor  dies  is  always  attributed  to 
his  reign,  so  that  the  reign  of  his  successor  be- 
gins only  on  the  first  day  of  the  following  year, 
when  a new  “ nien-hao  ” is  adopted,  it  being 
contrary  to  etiquette  to  mention  the  personal 
name  of  a Chinese  sovereign. 

The  practice  was  introduced  under  the  Han 
dynasty,  when  the  monarch,  on  his  accession  to 
the  throne  (163  B.C.),  selected  a title  for  his 
reign  in  place  of  the  title  of  Prince  So-and-so, 
which  had  been  usually  employed  prior  to  the 
time  of  Shih  Huangti,  22 1 B.C.  These  titles 
were  usually  so  chosen  as  to  be  of  happy  au- 
gury ; but  if,  in  spite  of  such  good  omen,  dis- 
order or  misfortune  ensued,  or  some  other  rea- 
son seemed  to  render  a change  advisable,  one 
title  would  be  abandoned  in  favor  of  another. 
This  title  is  termed  nien-ha.o,  “ the  year  desig- 
nation,” because  so  long  as  it  lasts  the  date  of 
all  events  is  chronicled  as  such-and-such  a year 
of  such-and-such  a “ nien-hao.” 

Upon  his  death,  however,  the  Emperor  re- 
ceives an  honorific  title,  under  which  the  reli- 
gious ceremonies  due  to  him  are  offered,  and 
which  is  therefore  termed  the  miao-hao,  or 
“ temple  designation.” 

The  dates  upon  porcelain  are  usually  re- 
corded by  the  use  of  the  “ nien-hao  ” as  above 
described.  The  practice  of  marking  the  date 
of  manufacture  was  instituted  by  the  Emperor 
Chen  Tsung  of  the  Sung  dynasty,  when,  on 
the  establishment  of  the  government  factory  at 
King-te-chen,  he  ordered  that  each  article 
manufactured  should  be  marked  with  the 
“nien-hao”  then  used:  “Ching-te,  1004  to 
1007.” 

Since  that  time,  putting  aside  monochromes, 
which,  in  probably  the  majority  of  instances, 
bear  no  mark,  they  have  been  employed  un- 
interruptedly, except  during  a portion  of  K’ang- 
hsi’s  reign, — i.e.,  in  1677, — when  the  magis- 
trate in  charge  at  King-te-chen  forbade  the 
practice  alike  of  inscribing  the  date  and  of 
portraying  the  actions  of  celebrated  person- 
ages, on  the  ground  that  if  the  article  were 


[1201 


GLOSSARY 


broken,  disrespect  might  be  shown  to  them  or 
to  the  Emperor.  Dunng  this  penod  of  the 
reign,  which  was  of  but  short  duration,  how- 
ever, a leaf,  censer,  ring,  or  other  mark  re- 
placed the  “ nien-hao.” 

ORANGE-PEEL  SURFACE,  a term  applied  to  a 
peculiar  roughened  texture  produced  by  skilful 
technique  during  the  wet  state  of  the  paste,  and 
when  glazed  resembling  the  skin  of  an  orange  : 
found  usually  on  rare  types  of  porcelain. 

OVER-GLAZE  and  UNDER-GLAZE,  two  modes 
of  applying  colored  decoration  on  porcelain. 
In  each  method  the  “ high  ” or  “ low  ” or 
“ muffled  ” firing  is  used  according  to  the  col- 
ors employed.  The  blue  decoration,  for  exam- 
ple, under  the  glaze,  is  made  with  the  brush 
on  the  unbaked  porcelain,  which  is  then  cov- 
ered with  the  glazing  compound,  applied  by 
insufflation.  The  “ over-glaze  ” decoration  in 
enamel  colors  is  done  in  the  muffle-kiln  after 
the  surface  is  glazed  and  baked  in  the  “ high- 
fire”  temperature. 

PA-KWA,  a set  of  eight  mystical  trigrams  of  an- 
cient Chinese  philosophy,  generally  arranged  in 
an  octagonal  form,  with  the  ” Yang  and  yin ’’(the 
primordial  essences)  in  the  center. 

Developed  (2852-2738  B.C.)  by  Fuh-hi, 
the  forms  were  revealed  to  him  on  the  back  of 
a “ dragon-horse  ” which  rose  out  of  the  sea. 
They  are  arranged  and  used  in  many  different 
ways,  and  often  appear  on  porcelain  as  symbols. 
Chinese  philosophers  of  remote  periods  have 
attempted  to  explain,  through  these  mystic  com- 
binations of  lines,  all  secrets  of  nature  and  being. 
The  unbroken  line  typifies  the  male,  and  the 
broken  line  the  female  ; they  also  symbolize  the 
points  of  the  compass. 

PA-PAO,  or  “ eight  precious  things,”  often  em- 
ployed for  the  decoration  of  porcelain.  They 
vary  considerably  in  form,  and  the  explanations 
of  their  meaning  are  conflicting.  The  usual 
forms  bear  fillets  and  are  : ( I ) an  oblate  spher- 
ical object  (“  Chen  ”),  representing  the  precious 
pearl  ; (2)  a disk  inclosing  an  open  square, 
possibly  a “ cash,”  emblematic  of  riches ; (3)  an 
open  lozenge  placed  honzontally  ; (4)  a lozenge 
placed  horizontally,  but  with  a second  lozenge 
or  chevron  in  the  upper  angle  ; (5)  a sonorous 
stone  (“  Ching  ” or  “ King  ”),  used  in  remote 
periods  instead  of  a bell,  and  constituting  an 


emblem  of  happiness  or  goodness  ; (6)  two  ob- 
long books  placed  at  angles  or  sidewise,  alle- 
goncal  of  learning  (books  are  suspended  with 
other  charms  in  the  pagoda  at  Nanking  to 
ward  off  evil  influences  — “ Middle  Kingdom,” 
Vol.  I)  ; (7)  two  rhinoceros-horns  (“  se-keo  ”), 
shaped  into  quadrangular  form  at  the  opening  — 
a pair  is  supposed  to  be  an  emblem  of  happi- 
ness ; (8)  a leaf  of  the  artenusia  (“  ai  yeh  ”), 
an  emblem  of  good  augury. 

PA-CHI-HSIANG.  See  Lucky  Emblems. 

PA-SIEN,  the  eight  immortals  or  legendary  beings 
of  the  Taoist  sect,  who  are  venerated  and  are 
frequently  depicted  on  porcelain.  Each  has  a 
special  emblem  or  attribute  which  occasionally 
occurs  as  a device  of  embellishment,  and  these 
are  collectively  known  as  “ Pa-an-hsien,”  or 
the  eight  Taoist  emblems  of  the  Immortals. 

Peach -TREE  (“  T’ao  ”).  This  tree  holds  a 
prominent  place  in  the  mystical  fancies  of  the 
Taoists,  and  the  peach  is  an  emblem  of  mar- 
riage and  a symbol  of  longevity.  The  gum  of 
the  peach-tree,  mixed  with  mulberry-ash,  is 
used  as  an  elixir  ■vitae  by  Taoists. 

Peony  (Mou-tan),  Paeonia  Moutan,  the  symbol 
of  spring.  It  bears  also  the  name  of  Kua-wang 
(“  king  of  flowers  ”),  and  is  regarded  when 
blooming  as  an  omen  of  good  fortune.  On  the 
other  hand,  if  the  flowers  fade  and  the  leaves 
dry  up,  the  change  foreshadows  poverty  or 
other  disaster  to  the  family  of  its  owner. 

In  the  south  of  China  the  peony  represents 
love  and  affection. 

F*£-TUN,  a fine  white  fusible  substance  entering 
with  kaolin  into  the  paste  or  glaze  of  Chinese 
porcelain,  and  giving  it  transparency,  but  which 
by  itself  would  fall  apart.  It  is  a mixture  of 
feldspathic  stone,  quartz,  silica,  silex,  and  cer- 
tain limestones  obtained  from  mountains  in  or 
near  Lin-tching. 

The  stone  petrosilex  (“p^-tun”)  is  crushed 
in  large  mortars  and  pounded  to  fine  powder, 
then  put  into  large  jars  or  vats  filled  with  water, 
stirred,  and  allowed  to  stand  for  a short  time, 
after  which  the  scum  which  rises  is  skimmed  off 
and  put  into  another  vessel.  The  dregs  of  the 
first  jar  are  taken  out  and  pounded  over  again ; 
the  process  being  repeated  until  all  the  foreign 
parts  are  removed.  After  settling,  the  water 
in  the  last  jar  is  carefully  drawn  off,  and  the 
remaining  sediment  or  paste  is  pressed  into 
large  forms  and  dried.  Before  it  is  quite  hard 


[121] 


GLOSSARY 


it  is  divided  up  into  small  cakes  or  bricks. 
These  are  the  “ pe-tun-tse,”  or  “ white-clay 
bricks.” 

PlNE-TREE,  a common  emblem  of  longevity. 

Pomegranate,  cultivated  chiefly  for  its  beauty 
as  a flowering  plant.  It  is  also  a Buddhist  sign, 
the  fruit  being  supposed  to  represent  the  es- 
sence of  favorable  influence.  The  Chinese 
name  “Kiat”  has  the  same  pronunciation  as  the 
word  for  luck,  so  when  peaches  (longevity)  and 
pomegranate  (luck)  are  combined,  the  sym- 
bolism means  these  blessings. 

Porcelain  is  classified  under  two  divisions,  i-e., 
hard  and  soft  paste.  It  is  translucent  and 
partially  vitrified,  has  a pure  white  body,  and 
is  sonorous  and  impermeable  to  water.  By 
reason  of  its  vitrification  and  translucency  it  is 
distinguishable  from  all  other  ceramic  products, 
and  this  quality  doubtless  inspired  the  name  of 
porcelain  in  Europe,  for  when  it  first  appeared 
its  novelty  suggested  a resemblance  to  mother- 
of-pearl  or  some  other  shells  : at  least  this  seems 
to  be  the  accepted  hypothesis. 

The  word  porcelain  has  undergone  different 
unimportant  transformations  at  the  hands  of 
European  writers,  who  have  referred  to  this 
wonderful  product  from  the  East,  giving  the 
word  according  to  their  own  language,  and  so 
we  find  the  word  “ pour<;elain  ” in  medieval 
French  inventories,  presumably  applied  to  many 
different  objects,  such  as  vases  or  other  uten- 
sils made  of  shells  or  mother-of-pearl. 

Both  Jacquemart  and  Fiquier  believed  the 
word  porcelain  to  be  derived  from  the  Portu- 
guese porcolaha  or  porcolla  (vessel)  ; but  it  is 
possible  that  the  word  porcelain  is  of  Italian 
origin,  and  derived  from  the  similarity  of  its 
glazed  white  surface  to  that  of  the  cowry-shell, 
called  by  the  Italians  porcellana. 

The  fact,  therefore,  singularly  appears  that 
China,  although  the  creator  of  this  marvelous 
product,  did  not  give  it  a name  acceptable  to 
or  used  by  Western  countries,  and  that  it  re- 
mained for  Europe  to  call  it  porcelain. 

In  China  porcelain  is  termed  Yao,  the  word 
signifying  an  object  baked  in  a kiln,  whether 
glazed  porcelain  or  glazed  pottery.  This  word 
came  into  use  during  the  T’ang  dynasty  (6 1 8 
A.D.),  when  the  paste  became  more  translu- 
cent and  white  through  the  use  of  kaolin. 

The  word  Thao  was  used  before  that  epoch, 
and  refers  to  a primitive  kind  of  pottery  or 


stoneware.  The  Chinese  also  called  a par- 
ticular kind  of  porcelain  Tse,  which  term  desig- 
nated a porcelain  made  from  a stone  called 
Tse-chi,  found  in  the  district  of  Tse-tcheou. 

Generally  Chinese  porcelain  contains  more 
silica  and  less  alumina  than  the  products  made 
at  Sevres,  Vienna,  or  Dresden.  The  effect  of 
the  presence  in  greater  or  less  degree  of  these 
compounds  is  well  known  by  the  Chinese.  In 
some  cases  they  employ  ferruginous  kaolin, 
which  sensibly  diminishes  the  value  of  the  ar- 
ticle. See  Porcelain  Paste. 

Porcelain  Paste.  Kaolin  and  “p^-tun-tse” 
in  equal  portions  are  used  for  porcelain  of  the 
finest  quality;  four  parts  kaolin  to  six  of  “pe- 
tun-tse”  for  the  second  quality;  one  part  kaolin 
to  three  parts  “pe-tun-tse”  for  the  third. 

The  mixture  is  made  into  paste  with  water, 
compressed,  rolled  and  kneaded  on  a table,  and 
beaten  to  remove  air-bubbles.  In  its  malleable 
state  it  is  ready  for  the  potter’s  wheel,  where  it 
receives  its  form. 

The  portions  that  cannot  be  turned  on  a 
wheel,  such  as  handles  and  other  attachments, 
are  separately  molded  and  fastened  on  with 
layers  of  paste  and  a bit  of  gum.  After  the  sur- 
face is  smoothed,  relief  ornamentations,  if  any, 
are  added,  and  a piece  is  put  away  to  dry. 
Large  objects  are  generally  made  in  two  or 
three  parts,  joined  together  by  moistened  paste. 
While  the  foot  is  still  unwrought  there  is  added 
the  decoration  in  blue  or  other  colors  which 
require  to  be  highly  fired.  TTie  glaze  is  next 
applied,  either  by  dipping  or  blowing  with  a 
tube.  This  strengthens  the  object  sufficiently  to 
permit  the  workman  to  fashion  the  foot  on  a 
wheel  and  to  inscribe  a mark.  Coated  with 
glaze,  the  piece  is  ready  for  the  kiln. 

RICE-GRAIN  Pattern,  or  “grains  de  riz,”  a 
term  applied  to  a pierced  design  in  the  form  of 
a star  diaper:  so  called  because  it  resembles 
grains  of  rice,  which  are  filled  out  with  glaze, 
leaving  the  pattern  semi-transparent. 

RlSHl  (“Sien-nung”),  genii  of  humankind,  or 
recluses  (variously  classified),  who  have  suc- 
ceeded in  freeing  themselves  from  perturbation 
of  spirit  and  the  infirmities  of  the  flesh,  or  have 
attained  to  immortality  in  the  existing  world; 
also,  the  deified  genii  v.To  have  bidden  fare- 
well to  earth  and  have  departed  to  roam  among 
the  three  “Islands  of  the  Blest.” 


[1221 


GLOSSARY 


Rouge  D’OR,  a rose-  or  crimson-tinged  pink 
enamel  derived  from  gold. 

S’AKYAMUNI,  the  historical  Buddha,  who  died 
966  B.C.,  and  is  venerated  throughout  China, 
as  in  Japan,  as  the  founder  of  the  Buddhist 
faith.  He  shares  the  honors  of  worship  with 
Amitabha,  one  of  the  very  many  factitious  Bud- 
dhas invented  by  the  Mahayana  school  at  the 
beginning  of  the  fourth  century  of  our  era.  He 
IS  sometimes  represented  with  beard  and  shaven 
head,  attired  in  flowing  garments  agitated  by 
the  winds,  and  holding  his  hands  in  a position 
of  prayer.  His  ear-lobes  are  enlarged,  his  head 
encircled  by  a nimbus,  and  his  brow  bears  the 
“uma”  (a  light-giving  circle  of  hair,  the  mark 
of  a Buddha  or  Bodhisattva). 

At  other  times  he  is  represented  seated  upon 
a thalamus,  resting  his  left  hand  upon  his  knee 
and  holding  up  the  right  hand  with  the  palm 
directly  forward. 

The  hair  is  represented  by  a blue  mass  re- 
sembling short  close  curls  of  uniform  size,  and 
a jewel  is  placed  about  midway  between  the 
crown  and  the  forehead.  The  “uma”  and 
nimbus  are  always  present. 

SANG-DE-B(EUF,  a term  applied  first  in  France 
to  a particularly  brilliant  red  glaze  which  re- 
sembles the  color  of  “beef  blood.”  The  oldest 
dates  from  the  Mings,  and  the  finest  is  K’ang- 
hsi. 

SEGGARS,  casings  of  clay  into  which  pieces  of 
porcelain  are  packed  for  protection  from  injury 
while  in  the  kiln : usually  so  placed  in  the  fur- 
nace that  each  separate  object  may  receive  its 
proper  degree  of  heat. 

SHAGREENED,  a term  applied  when  the  surface 
of  porcelain  shows  small  round  points  or,  ac- 
cording to  the  Chinese  expression,  “ chicken- 
flesh.” 

SHOU-LAO  Hsiang,  also  called  “ God  of  Lon- 
gevity.” See  Lao  Tsze. 

Note  : The  three  star-gods  (“  San  Hsing")  of  Happiness, 

Rank,  and  Longevity,  Fu,  Lu,  and  Shou,  are  often  associ- 
ated, but  sometimes  figure  separately  in  art  and  in  porce- 
lain. 

Show,  or  Shou,  a character  denoting  lon- 
gevity, frequently  represented  in  a circular  or 
seal  form,  and  often  figuring  on  (presentation) 
porcelain : regarded  as  very  felicitous  to  its 
possessor.  It  is  used  in  a variety  of  styles. 


Slip,  or  Engobe  Decoration,  a white 

enamel  embellishment  sometimes  practised  by 
Chinese  decorators  on  porcelain  or  pottery, 
somewhat  resembling  wedgwood  or,  in  the 
finest  technical  sense,  the  “ pate  sur  pate  ” of 
the  French,  where  the  white  enamel  is  deli- 
cately manipulated  into  raised  forms  of  design, 
usually  on  a celadon,  blue,  or  carmine  ground. 

The  finest  examples  of  this  class  from  China 
show  a delicate  lace-hke  tracery  in  white  over 
the  body  glazing,  done  by  means  of  a brush 
with  the  diluted  paste  made  of  “hoa-chi,” 
which  IS  prepared  to  the  consistency  of  enam- 
eling liquid.  The  other  style  of  slip-work  is 
usually  noticed  on  rather  ordinary  ware,  and 
shows  the  white  enamel  as  it  flowed  from  the 
mechanical  device,  without  brush-work  or  other 
manipulation. 

Soft  Paste,  or  “ Pate  Tendre,”  a particu- 
lar kind  of  Chinese  porcelain,  sometimes  called 
Fen-ting,  much  lighter  in  weight  than  hard 
paste,  and  usually  distinguishable  also  by  a 
more  creamy- white  texture,  and  with  fine 
crackle.  Pfere  d’Entrecolles  described  a “ soft 
paste,”  or  pkte  tendre,  made  dunng  the  latter 
part  of  the  reign  of  K’ang-hsi  (1712)  as  fol- 
lows: “ Quite  recently  a new  material  has  been 
found,  which  can  be  substituted  for  kaolin  ; it 
is  called  ‘ hoa-chi,’  and  is  a kind  of  stone  or 
rather  chalk  (steatite),  of  about  the  consistency 
of  hard  soap.  Porcelain  made  of  this  material 
is  very  expensive.  It  is  very  brittle  and  diffi- 
cult to  bake,  but  offers  the  most  desirable  sur- 
face for  the  artist  to  paint  on,  retaining  the 
colors  perfectly ; for  which  reason  the  body  of 
the  pieces  is  frequently  made  of  common  mate- 
rial and  the  surface  covered  with  this  ‘ hoa-chi,’ 
by  dipping  the  piece  into  the  prepared  liquid. 
It  is  also  much  lighter  than  the  average  porce- 
lain ; and  where  kaolin  costs  but  20  sous,  the 
‘ hoa-chi  ’ costs  an  ‘ ^cu  ’ (an  dcu  equaled  $ 1 .20 
in  1 7 I 2),  so  that  the  latter  materials  cost  just 
five  times  more.”  The  white  of  “hoa-chi’ 
was  called  “ Siang-ya-pe,”  or  the  “ white  of 
ivory.  ” The  various  ways  of  mixing  the  com- 
position of  soft  paste  no  doubt  accounts  for  the 
many  and  varying  descriptions  that  appear 
concerning  it.  See  Hard  Paste. 

S0UFFL£,  a French  term,  used  where  the  colored 
glaze  is  blown  upon  an  object  of  porcelain  by 
means  of  a little  tube  having  one  end  covered 
with  a fine  gauze  ; this  end  is  dipped  into  the 


[123] 


GLOSSARY 


prepared  color,  and  the  decorator  brings  it 
near  the  object  and  blows  through  the  other 
end ; this  is  repeated  until  the  desired  effect  is 
obtained. 

SPUR-MARKS,  generally  three  in  number,  seldom 
on  Chinese  porcelain,  but  sometimes  found  on 
the  bottom  of  Japanese  pieces,  caused  by  the 
props  after  decoration  or  glazing. 

Stork,  the,  is  supposed  to  reach  a fabulous  age ; 
it  is  one  of  the  emblems  of  longevity,  and  is  often 
pictured  on  porcelain  for  this  reason. 

Supernatural.  The  four  animals,  according 
to  “ Li  Ki,  ” one  of  the  five  Chinese  classics,  are 
the  feng  (phoenix),  the  k^ei  (tortoise),  the  lung 
(dragon),  and  the  lin  (unicorn). 

Swastika  (“  W an”).  Cross  of  Buddha,  or  Fylfot, 
a mystic  diagram  of  great  antiquity,  the  special 
mark  of  all  deities  worshiped  by  the  lotus 
school,  and  in  China  is  regarded  as  the  emblem 
of  Buddha’s  heart : generally  used  as  a symbol 
for  long  periods  of  time,  and  therefore  an  alle- 
gory of  the  blessing  of  long  life.  The  swastika, 
or  its  form,  is  of  wide  diffusion,  and  is  found  in 
the  rock  temples  of  India  as  well  as  among  all 
Buddhistic  people  of  Asia,  and  even  among 
Teutonic  races, — an  emblem  of  Thor. 

Symbolic  Fruits  (three),  the  pomegranate, 
peach,  and  “ Buddha’s-hand  ” citron,  are  sym- 
bolic of  three  abundances,  viz.:  abundance  of 
years,  abundance  of  sons,  and  abundance  of 
happiness. 

Thousand- FLOWER  Pattern,  a term  ap- 
plied to  pieces  where  the  entire  ground  is 
covered  with  a profusion  of  varied  flowers  with 
only  here  and  there  a leaf  to  break  the  uni- 
formity of  design  and  to  afford  relief.  The 
drawing  in  fine  specimens  produced  under 
Ch’ien-lung  is  done  with  the  utmost  accuracy, 
and  the  observation  of  details  most  minutely 
correct. 

Tiger  (“Hu ’’)  the,  is  described  as  the  king  of 
beasts,  and  the  representative  of  the  masculine 
or  active  principle  of  nature,  and  figures  in 
Chinese  art  as  one  of  the  common  Buddhistic 
symbols.  The  tiger  is  also  the  special  attribute 
of  the  Taoist  rishi  Kii  ling-jin  and  the  steed  of 
Ts’ai  Lwan,  or  Wen  Liao,  one  of  the  four 
sleepers. 


Triad  of  the  Taoist  cult,  Fu,  Lu,  and  Shou  (San 
Hsing),the  three  star-gods  of  Happiness,  Rank, 
and  Longevity. 

Vandyke  Pattern,  a term  applied  in  Eng- 
land to  porcelain,  decorated  in  blue,  where  the 
motive  shows  borders  with  scalloped  or  lancet- 
shaped  outlines,  and  inclosing  floral  arabesques 
like  on  the  so-called  lace  pattern. 

WAN-TSE,  a symbolic  device  or  mark,  in  diamond 
form,  appearing  on  presentation  pieces,  and 
often  jointly  with  the  cross  of  swastika,  mean- 
ing “ten  thousand  things,”  “everything,”  “all 
creation.” 

WANG-MU.  See  Hsi-wang-mu. 

Willow,  the,  common  in  all  parts  of  China. 
A general  idea  prevails  that  this  tree,  or  its 
branches,  is  an  omen  of  good  to  the  family  of 
a house  where  it  is  suspended  from  the  eaves, 
or  over  the  front  doors.  The  willow  is  also 
used  in  this  way  to  ward  ofi^  wicked  spirits. 
(Doolittle.) 

Buddhists  consider  that  water  sprinkled  by 
means  of  a willow  branch  has  a purifying  effect. 

During  the  T ang  dynasty,  the  willow  was 
selected  as  a badge  by  W ang-chan  for  his  fol- 
lowers in  a rebellion  which  was  planned  against 
the  reigning  Emperor,  he  secretly  ordenng 
those  who  were  favorable  to  him  to  stick  up  a 
branch  of  willow  under  the  eaves  and  over 
their  front  doors ; and  his  soldiers  were  accord- 
ingly instructed  not  to  molest  the  people  in 
these  particular  houses. 

Yang  and  YING  (“  In  and  Yb”),  a common  art 
motive  on  porcelain,  in  the  form  of  a circle  sub- 
divided by  two  comma-shaped  light  and  dark 
segments  which  symbolize  the  active  and  pas- 
sive, or  masculine  and  feminine  coefficient  nature. 

This  Chinese  mystic  symbol  bears  a singular 
parallel  to  that  extraordinary  fiction  of  Egyp- 
tian mythology,  the  supposed  intervention  of  a 
Mascolo,  feminine  principle  in  the  develop- 
ment of  the  mundane  egg. 

The  “Tae-keih”  is  said  to  have  produced 
the  Yang  and  the  Yin.  See  also  Pa-kwa. 
(Davis,  Vol.  II.) 

YAO,  a term  applied  to  certain  porcelain  in  China. 


1124] 


BIBLIOGRAPHY 


The  following  authorities,  whose  perusal  will  reward  the  deeper  student, 
have  been  used  in  compiling  these  pages : 


‘A  History  and  Description  of  Chinese  Porce- 
lains,” by  Cosmo  Monkhouse,  with  notes  by 
S.  W.  Bushel),  M.D.  Cassell  & Co.,  Lon- 
don, 1901. 

‘Ancient  Porcelain:  a Study  in  Chinese  Mediae- 
val Industry  and  Trade,”  by  F.  Hirth,  Ph.D. 
Hong-Kong,  1 888. 

‘La  Porcelaine  de  Chine,”  par  O.  du  Sartel. 
Morel  & Co.,  Paris,  1881. 

‘Oriental  Ceramic  Art,”  by  S.  W.  Bushel),  M.D. 
D.  Appleton,  New  York,  1 897.  (Collection 
of  W.  T.  Walters,  Esq.,  Baltimore,  U.  S.  A.) 

‘Chinese  Porcelains,”  by  W.  G.  Galland,  with 
notes  by  T.  J.  Larkin,  1902.  London. 

‘Histoire  et  Fabrication  de  la  Porcelaine  Chi- 
noise,”  translated  by  Stanislas  Julien,  with 
notes  and  additions  by  Alphonse  Salvetat, 
Paris,  1 856. 

‘La  CAamique  Chinoise,”  by  M.  Ernest  Gran- 
didier.  Paris,  1 894.  (Collection  now  at  the 
Louvre.) 

‘The  Chinese  Reader’s  Manual,”  by  W.  F. 
Mayer.  London  and  Shanghai,  1874. 

‘The  Middle  Kingdom,”  by  S.  Wells  Williams. 
New  York,  London,  1 861 . 

‘ Histoire  de  la  Ceramique,”  by  Albert  J.  Jacque- 
mart ; etching  by  Jules  Jacquemart.  Pans, 
1862. 

‘‘The  Garland  Collection  of  Chinese  Porcelains,” 
hand-book,  by  John  Getz.  New  Y ork,  I 895. 
(Metropolitan  Museum  of  Art.) 


‘‘ Lung-ch’uan-yao,  oder  Altes  Seladon-Porzel- 
lan,”  Adolf  Bernard  Meyer.  Berlin,  1 889. 

‘‘A  Catalogue  of  Blue  and  White  Nankin  Porce- 
lain,” by  Sir  Henry  Thompson.  London, 
1878.  (TTie  Thompson  Collection.) 

‘‘Description  and  Historical  Catalogue  of  a Col- 
lection of  Japanese  and  Chinese  Paintings  in 
the  British  Museum,”  by  William  Anderson, 

F.R.C.S. 

‘‘Catalogue  of  Oriental  Porcelciin,”  Bethnal  Green 
Museum,  Sir  A.  Wollaston  Franks.  Second 
edition,  1 878.  (This  collection  is  now  in  the 
British  Museum.) 

“ A Sketch  of  the  History  of  Ceramic  Art  in  Chi- 
na, ” by  E.  Alfred  Hippisley.  Extract  from 
the  Report  of  the  United  States  Museum  for 
1 900,  Washington,  D.  C.  Reprinted  1 902. 

‘‘  Les  Symboles  et  les  Accessoires  des  Culte  chez 
les  Annamites,”  par  G.  Dumoutier,  annales 
du  Musee  Guimet.  Paris,  1891. 

‘‘Guide  de  1’ Amateur  de  Porcelaines  et  de  Fai- 
ences,” Johann  Georg  Theodor  Grasse. 
Dresden,  I 894. 

“Social  Life  of  the  Chinese,”  by  the  Rev.  Justus 
Doolittle.  London,  1 868,  Sampson  Low, 
Marston  & Co. 

“Lettres  Edifiantes  et  Curieuse  des  Missions 
Etrangeres,”  published  by  L’Abbe  de  Quer- 
boeuf,  Paris,  last  edition  I 780-1  783;  the  let- 
ters of  Pdre  d’Entrecolles,  written  in  1712 
and  1 722,  are  in  Vols.  18  and  19. 


The  marks  on  porcelain  are  given  in  various  editions  of  Chaffers,  and  will  also  be  found 
in  Hopper  and  Phillips’s  “ Manual  of  Marks,”  and  in  Dr.  J.  G.  Theodor  Grasse’s 
work  (German  Edition),  “Abriss  der  Geschichte  des  Porzellans  und  der  Thongefasse,” 
Dresden. 


[1251 


1 

ai 


Ml  w w 


CHINESE  PERIODS 


DYNASTY  OF  THE  MING 


Title  of  Reign 

B 

ss 


or  Nien-hao  Date  of  Accession 

Hung-wu 1 368 

Chien-wen  ....  1 399 

Yung-lo 1403 

Hung-hsi 1425 

Hsiian-te 1 426 

Cheng-t’ung  . . . . 1436 

Ching-t’ai 1 450 

Tien-shun 1457 

^ ^ Ch’ung-chen 


Title  of  Reign,  or  Nien>hao 

Ch’eng-hua  . . . 

^ •/§  Hung-chih  . . . 

j£  ^ Cheng-te  .... 
^ Chia-ching  . . . 

Lung-ch’ing  or  -ch’ien 
M ® Wan-li  ..... 
# e T ai-ch’ang  . . . 

T^ien-ch’i  .... 
....  1628 


Dale  of  Accession 

1465 
1488 
1506 
1522 
1567 
1573 
1620 
1621 


DYNASTY  OF  THE  TS’ING 


Title  of  Reign,  or  Nien-Kao 

I^IM  Shun-chih  . 

^ K’ang-hsi 

miE  Y ung-cheng 


Dale  of  Accession 


Title  of  Reign,  or  Nien-hao 


. . . 1 644  Chia-ch’ing 

1662  Tao-kouang 

. . . 1723  ^ ^ Hslen-feng 

Ch’ien-lung  ....  1736  fp]  T’ung-chih 

itm  Kuang-hsii  . . . . 1875 


Date  of  Accession 

. 1796 
. 1821 
. 1851 

. 1862 


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